Nor does Mr. Haggard feed entirely on raw meat. Indeed, for lurid and somewhat pessimistic narrative, there is nothing like the ordinary currant bun, eaten new and in quantity. A light humorous style is best attained by soda-water and dry biscuits, following cafe-noir. The soda-water may be either Scotch or Irish as the taste inclines. For a florid, tawdry style the beginner must take nothing but boiled water, stewed vegetables, and an interest in the movements against vivisection, opium, alcohol, tobacco, sarcophagy, and the male sex.

For contributions to the leading reviews, boiled pork and cabbage may be eaten, with bottled beer, followed by apple dumpling. This effectually suppresses any tendency to facetiousness, or what respectable English people call double entendre, and brings you en rapport with the serious people who read these publications. So soon as you begin to feel wakeful and restless discontinue writing. For what is vulgarly known as the fin-de-siecle type of publication, on the other hand, one should limit oneself to an aerated bread shop for a week or so, with the exception of an occasional tea in a literary household. All people fed mainly on scones become clever. And this regimen, with an occasional debauch upon macaroons, chocolate, and cheap champagne, and brisk daily walks from Oxford Circus, through Regent Street, Piccadilly, and the Green Park, to Westminster and back, should result in an animated society satire.

It is not known what Mr. Kipling takes to make him so peculiar. Many of us would like to know. Possibly it is something he picked up in the jungle—berries or something. A friend who made a few tentative experiments to this end turned out nothing beyond a will, and that he dictated and left incomplete. (It was scarcely on the lines of an ordinary will, being blasphemous, and mentioning no property except his inside.) For short stories of the detective type, strong cold tea and hard biscuits are fruitful eating, while for a social science novel one should take an abundance of boiled rice and toast and water.

However, these remarks are mainly by way of suggestion. Every writer in the end, so soon as his digestion is destroyed, must ascertain for himself the peculiar diet that suits him best—that is, which disagrees with him the most. If everything else fails he might try some chemical food. "Jabber's Food for Authors," by the bye, well advertised, and with portraits of literary men, in their drawing-rooms, "Fed entirely on Jabber's Food," with medical certificates of its unwholesomeness, and favourable and expurgated reviews of works written on it, ought to be a brilliant success among literary aspirants. A small but sufficient quantity of arsenic might with advantage be mixed in.



HOUSE-HUNTING AS AN OUTDOOR AMUSEMENT

Since Adam and Eve went hand in hand out of the gates of Paradise, the world has travailed under an infinite succession of house-hunts. To-day in every eligible suburb you may see New Adams and New Eves by the score, with rusty keys and pink order-forms in hand, wandering still, in search of the ideal home. To them it is anything but an amusement. Most of these poor pilgrims look simply tired, some are argumentative in addition, but all are disappointed, anxious, and unhappy, their hands dirty with prying among cisterns, and their garments soiled from cellar walls. All, in the exaltation of the wooing days, saw at least the indistinct reflection of the perfect house, but now the Quest is irrevocably in hand they seek and do not find. And such a momentous question it is to them. Are they not choosing the background, the air and the colour, as it were, of the next three or four years, the cardinal years, too! of their lives?

Perhaps the exquisite exasperation of the business for the man who hunts among empty houses for a home is, that it is so entirely a choice of second-hand, or at least ready-made goods. To me, at least, there is a decided suggestion of the dead body in your empty house that has once been occupied. Here, like pale ghosts upon the wall paper, are outlined the pictures of the departed tenant; here are the nails of the invisible curtains, this dent in the wall is all that is sensible of a vanished piano. I could fancy all these things creeping back to visibility as the light grew dim. Someone was irritable in the house, perhaps, and a haunting fragrance of departed quarrels is to be found in the loose door-handles, and the broken bell-pull. Then the blind in the bedroom has a broken string. He was a beer-drinker, for the drip of the tap has left its mark in the cellar; a careless man, for this wall is a record of burst water-pipes; and rough in his methods, as his emendation of the garden gate—a remedy rather worse than the disease—shows. The mark of this prepotent previous man is left on the house from cellar to attic. It is his house really, not mine. And against these haunting individualities set the horrible wholesale flavour, the obvious dexterous builder's economies of a new house. Yet, whatever your repulsion may be, the end is always the same. After you have asked for your ideal house a hundred times or so you begin to see you do not get it. You go the way of your kind. All houses are taken in despair.

But such disgusts as this are for the man who really aims at taking a house. The artist house-hunter knows better than that. He hunts for the hunt's sake, and does not mar his work with a purpose. Then house-hunting becomes a really delightful employment, and one strangely neglected in this country. I have heard, indeed, of old ladies who enlivened the intervals of their devotions in this manner, but to the general run of people the thing is unknown. Yet a more entertaining way of spending a half-holiday—having regard to current taste—it should be difficult to imagine. An empty house is realistic literature in the concrete, full of hints and allusions if a little wanting in tangible humanity, and it outdoes the modern story in its own line, by beginning as well as ending in a note of interrogation. That it is not more extensively followed I can only explain by supposing that its merits are generally unsuspected. In which case this book should set a fashion.

One singular thing the house-hunter very speedily discovers is, that the greater portion of the houses in this country are owned by old gentlemen or old ladies who live next door. After a certain age, and especially upon retired tradespeople, house property, either alone or in common with gardening, exercises an irresistible fascination. You always know you are going to meet a landlord or landlady of this type when you read on your order to view, "Key next door but one." Calling next door but one, you are joined after the lapse of a few minutes by a bald, stout gentleman, or a lady of immemorial years, who offers to go over "the property" with you. Apparently the intervals between visits to view are spent in slumber, and these old people come out refreshed and keen to scrutinise their possible new neighbours. They will tell you all about the last tenant, and about the present tenants on either side, and about themselves, and how all the other houses in the neighbourhood are damp, and how they remember when the site of the house was a cornfield, and what they do for their rheumatism. As one hears them giving a most delightful vent to their loquacity, the artistic house-hunter feels all the righteous self-applause of a kindly deed. Sometimes they get extremely friendly. One old gentleman—to whom anyone under forty must have seemed puerile—presented the gentle writer with three fine large green apples as a kind of earnest of his treatment: apples, no doubt, of some little value, since they excited the audible envy of several little boys before they were disposed of.

Sometimes the landlord has even superintended the building of the house himself, and then it often has peculiar distinctions—no coal cellar, or a tower with turrets, or pillars of ornamental marble investing the portico with disproportionate dignity. One old gentleman, young as old gentlemen go, short of stature, of an agreeable red colour, and with short iron-grey hair, had a niche over the front door containing a piece of statuary. It gave one the impression of the Venus of Milo in chocolate pyjamas. "It was nood at first," said the landlord, "but the neighbourhood is hardly educated up to art, and objected. So I gave it that brown paint."

On one expedition the artistic house-hunter was accompanied by Euphemia. Then it was he found Hill Crest, a vast edifice at the incredible rent of L40 a year, with which a Megatherial key was identified. It took the two of them, not to mention an umbrella, to turn this key. The rent was a mystery, and while they were in the house—a thunderstorm kept them there some time—they tried to imagine the murder. From the top windows they could see the roofs of the opposite houses in plan.

"I wonder how long it would take to get to the top of the house from the bottom?" said Euphemia.

"Certainly longer than we could manage every day," said the artistic house-hunter. "Fancy looking for my pipe in all these rooms. Starting from the top bedroom at the usual time, I suppose one would arrive downstairs to breakfast about eleven, and then we should have to be getting upstairs again by eight o'clock if we wanted any night's rest worth having. Or we might double or treble existence, live a Gargantuan life to match the house, make our day of forty-eight hours instead of twenty-four. By doubling everything we should not notice the hole it made in our time getting about the place. Perhaps by making dinner last twice as long, eating twice as much, and doing everything on the scale of two to one, we might adapt ourselves to our environment in time, grow twice as big."

"Then we might be very comfortable here," said Euphemia.

They went downstairs again. By that time it was thundering and raining heavily. The rooms were dark and gloomy. The big side door, which would not shut unless locked from the outside, swayed and banged as the gusts of wind swept round the house. But they had a good time in the front kitchen, playing cricket with an umbrella and the agent's order crumpled into a ball. Presently the artistic house-hunter lifted Euphemia on to the tall dresser, and they sat there swinging their feet patiently until the storm should leave off and release them.

"I should feel in this kitchen," said Euphemia, "like one of my little dolls must have felt in the dolls'-house kitchen I had once. The top of her head just reached the level of the table. There were only four plates on the dresser, but each was about half her height across——"

"Your reminiscences are always entertaining," said the artistic house-hunter; "still they fail to explain the absorbing mystery of this house being to let at L40 a year." The problem raised his curiosity, but though he made inquiries he found no reason for the remarkably low rent or the continued emptiness of the house. It was a specimen puzzle for the house-hunter. A large house with a garden of about half an acre, and with accommodation for about six families, going begging for L40 a year. Would it let at eighty? Some such problem, however, turns up in every house-hunt, and it is these surprises that give the sport its particular interest and delight. Always provided the mind is not unsettled by any ulterior notion of settling down.



OF BLADES AND BLADERY

The Blade is not so much a culture as a temperament, and Bladery—if the thing may have the name—a code of sentiments rather than a ritual. It is the rococo school of behaviour, the flamboyant gentleman, the gargoyle life. The Blade is the tribute innocence pays to vice. He may look like a devil and belong to a church. And the clothing of the Blade, being symbolical, is a very important part of him. It must show not only a certain tastiness, but also decision in the accent, courage in the pattern, and a Dudley Hardihood of outline. A Blade must needs take the colour of his social standing, but all Blades have the same essential qualities. And all Blades have this quality, that they despise and contemn other Blades from the top downward. (But where the bottommost Blade comes no man can tell.)

A well-bred Blade—though he be a duke—tends to wear his hat tilted a little over the right eyebrow, and a piece of hair is pulled coquettishly down just below the brim. His collar is high, and a very large bow is worn slightly askew. This may be either cream-coloured or deep blue, with spots of white, or it may be red, or buff, but not green, because of badinage. The Blade of the middle class displays a fine gold watch-chain, and his jacket and vest may be of a rough black cloth or blue serge. The trousering may be of a suit with the jacket, or tasteful, and the shoes must be long. The betting man, adorned, is a perfect Blade. There is often a large and ornamental stick, which is invariably carried head downwards. And note, that the born Blade instinctively avoids any narrowness of pose. In walking he thrusts out his shoulders, elbows, and knees, and it is rather the thing to dominate a sphere of influence beyond this by swinging his stick. At first the beginner will find this weapon a little apt to slip from the hand and cause inconvenience to the general public; but he must not mind that. After a few such misadventures he will acquire dexterity.

All Blades smoke—publicly at least. To smoke a white meerschaum in the streets, however, is very inferior form. The proper smoking is a briar, and, remember, it is not smart to have a new pipe. So soon as he buys it, the Blade takes his pipe home, puts it on a glowing fire to burn the rim, scrapes this away, burns it again, and so on until it looks a sullen desperado of a pipe—a pipe with a wild past. Sometimes he cannot smoke a pipe. In this case he may—for his stomach's sake—smoke a cigarette. And, besides, there is something cynical about a cigarette. For the very young Blade there are certain makes of cigarette that burn well—they are mixed with nitre—and these may be smoked by holding them in the left hand and idly swinging them to and fro in the air. If it were not for the public want of charity, I would recommend a well-known brand. A Blade may always escape a cigar by feigning a fastidious taste. "None of your Cabanas" is rather good style.

The Blade, it must be understood—especially by the Blade's friends—spends his time in a whirl of dissipation. That is the symbolism of the emphatic obliquity of the costume. First, he drinks. The Blade at Harrow, according to a reliable authority, drinks cherry brandy and even champagne; other Blades consume whisky-and-soda; the less costly kind of Blade does it on beer. And here the beginner is often at a loss. Let us say he has looked up the street and down, ascertained that there are no aunts in the air, and then plunged into his first public-house. How shall he ask for his liquor? "I will take a glass of ale, if you please, Miss," seems tame for a Blade. It may be useful to know a more suitable formula. Just at present, we may assure the Blade neophyte, it is all the rage to ask for "Two of swipes, ducky." Go in boldly, bang down your money as loudly as possible, and shout that out at the top of your voice. If it is a barman, though, you had better not say "ducky." The slang will, we can assure him, prove extremely effective.

Then the Blade gambles; but over the gambling of the Blade it is well to draw a veil—a partially translucent and coquettish veil, through which we can see the thing dimly, and enhanced in its enormity. You must patronise the Turf, of course, and have money on horses, or you are no Blade at all, but a mere stick. The Harrow Blade has his book on all the big races in the calendar; and the great and noble game of Nap—are not Blades its worshippers wherever the sun shines and a pack of cards is obtainable? Baccarat, too. Many a glorious Blade has lost his whole term's pocket-money at a single sitting at that noble game. And the conversation of the Blade must always be brilliant in the extreme, like the flashing of steel in the sunlight. It is usually cynical and worldly, sometimes horrible enough to make a governess shudder, but always epigrammatic. Epigrams and neat comparisons are much easier to make than is vulgarly supposed. "Schoolmasters hang about the crops of knowledge like dead crows about a field, examples and warnings to greedy souls." "Marriage is the beginning of philosophy, and the end is, 'Do not marry.'" "All women are constant, but some discover mistakes." "One is generally repentant when one is found out, and remorseful when one can't do it again." A little practice, and this kind of thing may be ground out almost without thinking. Occasionally, in your conversation with ladies, you may let an oath slip. (Better not let your aunt hear you.) Apologise humbly at once, of course. But it will give them a glimpse of the lurid splendour of your private life.

And that brings us to the central thing of the Blade's life, the eternal Feminine! Pity them, be a little sorry for them—the poor souls cannot be Blades. They must e'en sit and palpitate while the Blade flashes. The accomplished Blade goes through life looking unspeakable wickedness at everything feminine he meets, old and young, rich and poor, one with another. He reeks with intrigue. Every Blade has his secrets and mysteries in this matter—remorse even for crimes. You do not know all that his handsome face may hide. Even he does not know. He may have sat on piers and talked to shop-girls, kissed housemaids, taken barmaids to music halls, conversed with painted wickedness in public places—nothing is too much for him. And oh! the reckless protestations of love he has made, the broken promises, the broken hearts! Yet men must be Blades, though women may weep; and every Blade must take his barmaid to a music hall at least once, even if she be taller than himself. Until then his manhood is not assured.

Just one hint in conclusion. A Blade who collects stamps, or keeps tame rabbits, or eats sweets, oranges, or apples in the streets, or calls names publicly after his friends, is no Blade at all, but a boy still. So, with our blessing, he swaggers on his way and is gone. A Don Juan as fresh as spring, a rosebud desperado. May he never come upon just cause for repentance!



OF CLEVERNESS

APROPOS OF ONE CRICHTON

Crichton is an extremely clever person—abnormally, indeed almost unnaturally, so. He is not merely clever at this or that, but clever all round; he gives you no consolations. He goes about being needlessly brilliant. He caps your jests and corrects your mistakes, and does your special things over again in newer and smarter ways. Any really well-bred man who presumed so far would at least be plain or physically feeble, or unhappily married by way of apology, but the idea of so much civility seems never to have entered Crichton's head. He will come into a room where we are jesting perhaps, and immediately begin to flourish about less funny perhaps but decidedly more brilliant jests, until at last we retire one by one from the conversation and watch him with savage, weary eyes over our pipes. He invariably beats me at chess, invariably. People talk about him and ask my opinion of him, and if I venture to criticise him they begin to look as though they thought I was jealous. Grossly favourable notices of his books and his pictures crop up in the most unlikely places; indeed I have almost given up newspapers on account of him. Yet, after all——

This cleverness is not everything. It never pleases me, and I doubt sometimes if it pleases anyone. Suppose you let off some clever little thing, a subtlety of expression, a paradox, an allusive suggestive picture; how does it affect ordinary people? Those who are less clever than yourself, the unspecialised, unsophisticated average people, are simply annoyed by the puzzle you set them; those who are cleverer find your cleverness mere obvious stupidity; and your equals, your competitors in cleverness, are naturally your deadly rivals. The fact is this cleverness, after all, is merely egotism in its worst and unwisest phase. It is an incontinence of brilliance, graceless and aggressive, a glaring swagger. The drunken helot of cleverness is the creature who goes about making puns. A mere step above comes the epigram, the isolated epigram framed and glazed. Then such impressionist art as Crichton's pictures, mere puns in paint. What they mean is nothing, they arrest a quiet decent-minded man like myself with the same spasmodic disgust as a pun in literature—the subject is a transparent excuse; they are mere indecent and unedifying exhibitions of himself. He thinks it is something superlative to do everything in a startling way. He cannot even sign his name without being offensive. He lacks altogether the fundamental quality of a gentleman, the magnanimity to be commonplace. I——

On the score of personal dignity, why should a young man of respectable antecedents and some natural capacity stoop to this kind of thing? To be clever is the last desperate resort of the feeble, it is the merit of the ambitious slave. You cannot conquer vi et armis, you cannot stomach a decent inferiority, so you resort to lively, eccentric, and brain-wearying brilliance to ingratiate yourself. The cleverest animal by far is the monkey, and compare that creature's undignified activity with the mountainous majesty of the elephant!

And I cannot help thinking, too, that cleverness must be the greatest obstacle a man can possibly have in his way upward in the world. One never sees really clever people in positions of trust, never widely influential or deeply rooted. Look, for instance, at the Royal Academy, at the Judges, at——But there! The very idea of cleverness is an all-round readiness and looseness that is the very negation of stability.

Whenever Crichton has been particularly exasperating, getting himself appreciated in a new quarter, or rising above his former successes, I find some consolation in thinking of my Uncle Augustus. He was the glory of our family. Even Aunt Charlotte's voice drooped a little in the mention of his name. He was conspicuous for an imposing and even colossal stupidity: he rose to eminence through it, and, what is more, to wealth and influence. He was as reliable, as unlikely to alter his precise position, or do anything unexpected, as the Pyramids of Egypt. I do not know any topic upon which he was not absolutely uninformed, and his contributions to conversation, delivered in that ringing baritone of his, were appallingly dull. Often I have seen him utterly flatten some cheerful clever person of the Crichton type with one of his simple garden-roller remarks—plain, solid, and heavy, which there was no possibility either of meeting or avoiding. He was very successful in argument, and yet he never fenced. He simply came down. It was, so to speak, a case of small sword versus the avalanche. His moral inertia was tremendous. He was never excited, never anxious, never jaded; he was simply massive. Cleverness broke upon him like shipping on an ironbound coast. His monument is like him—a plain large obelisk of coarse granite, unpretending in its simple ugliness and prominent a mile off. Among the innumerable little white sorrows of the cemetery it looks exactly as he used to look among clever people.

Depend upon it cleverness is the antithesis of greatness. The British Empire, like the Roman, was built up by dull men. It may be we shall be ruined by clever ones. Imagine a regiment of lively and eccentric privates! There never was a statesman yet who had not some ballast of stupidity, and it seems to me that part at least of the essentials of a genius is a certain divine dulness. The people we used to call the masters—Shakespeare, Raphael, Milton, and so forth—had a certain simplicity Crichton lacks. They do not scintillate nearly so much as he does, and they do not give that same uncomfortable feeling of internal strain. Even Homer nods. There are restful places in their work, broad meadows of breezy flatness, calms. But Crichton has no Pacific Ocean to mitigate his everlasting weary passage of Cape Horn: it is all point and prominence, point and prominence.

No doubt this Crichton is having a certain vogue now, but it cannot last. I wish him no evil, of course, but I cannot help thinking he will presently have had his day. This epoch of cleverness must be very near its last flare. The last and the abiding thought of humanity is peace. A dull man will presently be sought like the shadow of a great rock in a thirsty land. Dulness will be the New Genius. "Give us dull books," people will cry, "great dull restful pictures. We are weary, very weary." This hectic, restless, incessant phase in which we travail—fin-de-siecle, "decadent," and all the rest of it—will pass away. A chubby, sleepy literature, large in aim, colossal in execution, rotund and tranquil will lift its head. And this Crichton will become a classic, Messrs. Mudie will sell surplus copies of his works at a reduction, and I shall cease to be worried by his disgusting success.



THE POSE NOVEL

I watched the little spurts of flame jet out from between the writhing pages of my manuscript, watched the sheets coil up in their fiery anguish and start one from another. I helped the fire to the very vitals of the mass by poking the brittle heap, and at last the sacrifice was over, the flames turned from pink to blue and died out, the red glow gave place to black, little luminous red streaks coiled across the charred sheets and vanished at the margins, and only the ashes of my inspiration remained. The ink was a lustrous black on the dull blackness of the burnt paper. I could still read this much of my indiscretion remaining, "He smiled at them all and said nothing."

"Fool!" I said, and stirred the crackling mass into a featureless heap of black scraps. Then with my chin on my fists and elbows on knees I stared at the end of my labours.

I suppose, after all, there has been some profit out of the thing. Satan finds some mischief still for idle hands to do, and one may well thank Heaven it was only a novel. Still, it means many days out of my life, and I would be glad to find some positive benefit accruing. Clearly, in the first place, I have eased my mind of some execrable English. I am cleaner now by some dozen faulty phrases that I committed and saw afterwards in all the nakedness of typewriting. (Thank Heaven for typewriting! Were it not for that, this thing had gone to the scoffing of some publisher's reader, and another had known my shame.) And I shall not write another pose novel.

I am inclined to think these pose novels the wild oats of authorship. We sit down in the heyday of our youth to write the masterpiece. Obviously, it must be a novel about a man and a woman, and something as splendid as we can conceive of in that way. We look about us. We do not go far for perfection. One of the brace holds the pen and the other is inside his or her head; and so Off! to the willing pen. Only a few years ago we went slashing among the poppies with a walking-stick, and were, we said boldly and openly, Harolds and Hectors slaying our thousands. Now of course we are grown up to self-respect, and must needs be a little disingenuous about it. But as the story unfolds there is no mistaking the likeness, in spite of the transfiguration. This bold, decided man who performs such deeds of derring-do in the noisome slum, knocks down the burly wife-beater, rescues an unmistakable Miss Clapton from the knife of a Lascar, and is all the while cultivating a virtuous consumption that stretches him on an edifying, pathetic, and altogether beautiful deathbed in the last chapter——My dear Authorling, cry my friends, we hear the squeak of that little voice of yours in every word he utters. Is that what you aspire to be, that twopence-coloured edition of yourself? Heaven defend you from your desires!

Yet there was a singular fascination in writing the book; to be in anticipation my own sympathetic historian, to joy with my joys yet to come, and sorrow with my sorrows, to bear disaster like a man, and at last to close my own dear eyes, and with a swelling heart write my own epitaph. The pleasure remained with me until I reached the end. How admirably I strutted in front of myself! And I and the better self of me that was flourishing about in the book—we pretended not to know each other for what we were. He was myself with a wig and a sham visiting card, and I owed it to myself to respect my disguise. I made him with very red hair—my hair is fairly dark—and shifted his university from London to Cambridge. Clearly it could not be the same person, I argued. But I endowed him with all the treasures of myself; I made him say all the good things I might have said had I thought of them opportunely, and all the noble thoughts that occurred to me afterwards occurred to him at the time. He was myself—myself at a premium, myself without any drawbacks, the quintessence and culmination of me. And yet somehow when he came back from the typewriter he seemed a bit of an ass.

Probably every tadpole author writes a pose novel—at least I hope so for the sake of my self-respect. Most, after my fashion, burn the thing, or benevolent publishers lose it. It is an ill thing if by some accident the tadpole tale survives the tadpole stage. The authoress does the feminine equivalent, but I should judge either that she did it more abundantly or else that she burned less. Has she never swept past you with a scornful look, disdained you in all the pride of her beauty, rippled laughter at you, or amazed you with her artless girlishness? And even after the early stages some of the trick may survive, unless I read books with malice instead of charity. I must confess, though, that I have a weakness for finding mine author among his puppets. I conceive him always taking the best parts, like an actor-manager or a little boy playing with his sisters. I do not read many novels with sincere belief, and I like to get such entertainment from them as I can. So that these artless little self-revelations are very sweet and precious to me among all the lay figures, tragedy and comedy. Since the deception is transparent I make the most of the transparency, and love to see the clumsy fingers on the strings of the marionettes. And this will be none the less pleasant now that I have so narrowly escaped giving this entertainment to others.

I suppose this stage is a necessary one. We begin with ignorance and the imagination, the material of the pose novel. Later come self-knowledge, disappointments and self-consciousness, and the prodigals of fiction stay themselves upon the husks of epigram and cynicism, and in the place of artless aspiration are indeed in plain black and white very desperate characters. It is after all only another pose—the pose of not posing. We, the common clay of the world of letters, must needs write in this way, because we cannot forget our foolish little selves in our work. But some few there are who sit as gods above their private universes, and write without passion or vanity. At least, so I have been told. These be the true artists of letters, the white windows upon the truth of things. We by comparison are but stained glass in our own honour, and do but obstruct the view with our halos and attitudes. Yet even Shakespeare, the critics tell us—and they say they know—posed in the character of Hamlet.

After all, the pose novel method has at times attained to the level of literature. Charlotte Bronte might possibly have found no other topic had she disdained the plain little woman with a shrewish tongue; and where had Charles Kingsley been if the vision of a curate rampant had not rejoiced his heart? Still, I am not sorry that this novel is burned. Even now it was ridiculous, and the time might have come when this book, full of high, if foolish aims, and the vain vast promise of well-meaning youth, had been too keen a reproach to be endured. Three volumes of good intentions! It is too much. There was more than a novel burning just now. After this I shall be in a position to take a humorist's view of life.



THE VETERAN CRICKETER

My old cricketer was seized, he says, some score of years ago now, by sciatica, clutched indeed about the loins thereby, and forcibly withdrawn from the practice of the art; since when a certain predisposition to a corpulent habit has lacked its natural check of exercise, and a broadness almost Dutch has won upon him. Were it not for this, which renders his contours and his receding aspect unseemly, he would be indeed a venerable-looking person, having a profile worthy of a patriarch, tinged though it may be with an unpatriarchal jollity, and a close curly beard like that of King David. He lives by himself in a small cottage outside the village—hating women with an unaccountable detestation—and apparently earns a precarious livelihood, and certainly the sincere aversion of the country side, by umpiring in matches, and playing whist and "Nap" with such as will not be so discreet and economical as to bow before his superior merit.

His neighbours do not like him, because he will not take their cricket or their whist seriously, because he will persist in offering counsel and the stimulus of his gift of satire. All whist than his he avers is "Bumble-puppy." His umpiring is pedagogic in tone; he fails to see the contest in the game. To him, who has heard his thousands roar as the bails of the best of All England went spinning, these village matches are mere puerile exercises to be corrected. His corrections, too, are Olympian, done, as it were, in red ink, vivid, and without respect of persons. Particularly he gibes. He never uses vulgar bad language himself, but has a singular power of engendering it in others. He has a word "gaby," which he will sometimes enlarge to "stuppid gaby," the which, flung neatly into a man who has just missed a catch, will fill the same with a whirl of furious curses difficult to restrain. And if perchance one should escape, my ancient cricketer will be as startled as Cadmus at the crop he has sown. And not only startled but pained at human wickedness and the follies of a new generation. "Why can't you play without swearing, Muster Gibbs?" he will say, catching the whispered hope twenty yards away, and proclaiming it to a censorious world. And so Gibbs, our grocer and draper, and one made much of by the vicar, is shamed before the whole parish, and damned even as he desired.

To our vicar, a well-meaning, earnest, and extremely nervous man, he displays a methodical antagonism. Our vicar is the worst of all possible rural vicars—unripe, a glaring modern, no classical scholar, no lover of nature, offensively young and yet not youthful, an indecent politician. He was meant to labour amid Urban Myriads, to deal with Social Evils, Home Rule, the Woman Question, and the Reunion of Christendom, attend Conferences and go with the Weltgeist—damn him!—wherever the Weltgeist is going. He presents you jerkily—a tall lean man of ascetic visage and ample garments, a soul clothed not so much in a fleshy body as in black flaps that ever trail behind its energy. Where they made him Heaven knows. No university owns him. It may be he is a renegade Dissenting minister, neither good Church nor wholesome Nonconformity. Him my cricketer regards with malignant respect. Respect he shows by a punctilious touching of his hat brim, directed to the sacred office; all the rest is malignity, and aimed at the man that fills it. They come into contact on the cricket-field, and on the committee of our reading-room. For our vicar, in spite of a tendency to myopia, conceives it his duty to encourage cricket by his participation. Duty—to encourage cricket! So figure the scene to yourself. The sunlit green, and a match in progress,—the ball has just snipped a stump askew,—my ancient, leaning on a stout cabbage stick, and with the light overcoat that is sacred to umpires upon his arm.

"Out, Billy Durgan," says he, and adds, ex cathedra, "and one you ought to ha' hit for four."

Then appears our vicar in semi-canonicals, worn "to keep up his position," or some such folly, nervous about the adjustment of his hat and his eyeglasses. He approaches the pitch, smiling the while to show his purely genial import and to anticipate and explain any amateurish touches. He reaches the wicket and poses himself, as the convenient book he has studied directs. "You'll be caught, Muster Shackleforth, if you keep your shoulder up like that," says the umpire. "Ya-a-ps! that's worse!"—forgetting himself in his zeal for attitude. And then a voice cries "Play!"

The vicar swipes wildly, cuts the ball for two, and returns to his wicket breathless but triumphant. Next comes a bye, and then over. The misguided cleric, ever pursuing a theory of foolish condescension to his betters at the game, and to show there is no offence at the "Yaaps," takes the opportunity, although panting, of asking my ancient if his chicks—late threatened with staggers—are doing well. What would he think if my cricketer retaliated by asking, in the pause before the sermon, how the vicarage pony took his last bolus? The two men do not understand one another. My cricketer waves the hens aside, and revenges himself, touching his hat at intervals, by some offensively obvious remarks—as to a mere beginner—about playing with a straight bat. And the field sniggers none too furtively. I sympathise with his malice. Cricket is an altogether too sacred thing to him to be tampered with on merely religious grounds. However, our vicar gets himself caught at the first opportunity, and so being removed from my veteran's immediate environment, to their common satisfaction, the due ritual of the great game is resumed.

My ancient cricketer abounds in reminiscence of the glorious days that have gone for ever. He can still recall the last echoes of the "throwing" controversy that agitated Nyren, when over-arm bowling began, and though he never played himself in a beaver hat, he can, he says, recollect seeing matches so played. In those days everyone wore tall hats—the policeman, the milkman, workmen of all sorts. Some people I fancy must have bathed in them and gone to bed wearing them. He recalls the Titans of that and the previous age, and particularly delights in the legend of Noah Mann, who held it a light thing to walk twenty miles from Northchapel to Hambledon to practise every Tuesday afternoon, and wander back after dark. He himself as a stripling would run a matter of four miles, after a day's work in the garden where he was employed, to attend an hour's practice over the downs before the twilight made the balls invisible. And afterwards came Teutonic revelry or wanderings under the summer starlight, as the mood might take him. For there was a vein of silent poetry in the youth of this man.

He hates your modern billiard-table pitch, and a batting of dexterous snickery. He likes "character" in a game, gigantic hitting forward, bowler-planned leg catches, a cunning obliquity in a wicket that would send the balls mysteriously askew. But dramatic breaks are now a thing unknown in trade cricket. One legend of his I doubt; he avers that once at Brighton, in a match between Surrey and Sussex, he saw seven wickets bowled by some such aid in two successive overs. I have never been able to verify this. I believe that, as a matter of fact, the thing has never occurred, but he tells it often in a fine crescendo of surprise, and the refrain, "Out HE came." His first beginning is a cheerful anecdote of a crew of "young gentlemen" from Cambridge staying at the big house, and a challenge to the rustic talent of "me and Billy Hall," who "played a bit at that time," "of me and Billy Hall" winning the pitch and going in first, of a memorable if uncivil stand at the wickets through a long hot afternoon, and a number of young gentlemen from Cambridge painfully discovering local talent by exhaustive fielding in the park, a duty they honourably discharged.

I am fond of my old cricketer, in spite of a certain mendacious and malign element in him. His yarns of gallant stands and unexpected turns of fortune, of memorable hits and eccentric umpiring, albeit tending sometimes incredibly to his glory, are full of the flavour of days well spent, of bright mornings of play, sunlit sprawlings beside the score tent, warmth, the flavour of bitten grass stems, and the odour of crushed turf. One seems to hear the clapping hands of village ancients, and their ululations of delight. One thinks of stone jars with cool drink swishing therein, of shouting victories and memorable defeats, of eleven men in a drag, and tuneful and altogether glorious home-comings by the light of the moon. His were the Olympian days of the sport, when noble squires were its patrons, and every village a home and nursery of stalwart cricketers, before the epoch of special trains, gate-money, star elevens, and the tumultuous gathering of idle cads to jabber at a game they cannot play.



CONCERNING A CERTAIN LADY

This lady wears a blue serge suit and a black hat, without flippancy; she is a powerfully built lady and generally more or less flushed, and she is aunt, apparently, to a great number of objectionable-looking people. I go in terror of her. Yet the worm will turn at last, and so will the mild, pacific literary man. Her last outrage was too much even for my patience. It was committed at Gloucester Road Station the other afternoon. I was about to get into a train for Wimbledon,—and there are only two of them to the hour,—and, so far as I could see, the whole world was at peace with me. I felt perfectly secure. The aegis of the pax Britannica—if you will pardon the expression—was over me. For the moment the thought of the lady in the blue serge was quite out of my mind. I had just bought a newspaper, and had my hand on the carriage door. The guard was fluttering his flag.

Then suddenly she swooped out of space, out of the infinite unknown, and hit me. She always hits me when she comes near me, and I infer she hits everyone she comes across. She hit me this time in the chest with her elbow and knocked me away from the door-handle. She hit me very hard; indeed, she was as fierce as I have ever known her. With her there were two nieces and a nephew, and the nephew hit me too. He was a horrid little boy in an Eton suit of the kind that they do not wear at Eton, and he hit me with his head and pushed at me with his little pink hands. The nieces might have been about twenty-two and thirteen respectively, and I infer that they were apprenticed to her. All four people seemed madly excited. "It's just starting!" they screamed, and the train was, indeed, slowly moving. Their object—so far as they had an object and were not animated by mere fury—appeared to be to assault me and then escape in the train. The lady in blue got in and then came backwards out again, sweeping the smaller girl behind her upon the two others, who were engaged in hustling me. "It's 'smoking!'" she cried. I could have told her that, if she had asked instead of hitting me. The elder girl, by backing dexterously upon me, knocked my umbrella out of my hand, and when I stooped to pick it up the little boy knocked my hat off. I will confess they demoralised me with their archaic violence. I had some thought of joining in their wild amuck, whooping, kicking out madly, perhaps assaulting a porter,—I think the lady in blue would have been surprised to find what an effective addition to her staff she had picked up,—but before I could collect my thoughts sufficiently to do any definite thing the whole affair was over. A porter was slamming doors on them, the train was running fast out of the station, and I was left alone with an unmannerly newsboy and an unmannerly porter on the platform. I waited until the porter was out of the way, and then I hit the newsboy for laughing at me, but even with that altercation it was a tedious wait for the next train to Wimbledon.

This is the latest of my encounters with this lady, but it has decided me to keep silence no longer. She has been persecuting me now for years in all parts of London. It may be I am her only victim, but, on the other hand, she may be in the habit of annoying the entire class of slender and inoffensive young men. If so, and they will communicate with me through the publishers of this little volume, we might do something towards suppressing her, found an Anti-Energetic-Lady-League, or something of that sort. For if there was ever a crying wrong that clamoured for suppression it is this violent woman.

She is, even now, flagrantly illegal. She might be given in charge for hitting people at any time, and be warned, or fined, or given a week. But somehow it is only when she is overpast and I am recovering my wits that I recollect that she might be dealt with in this way. She is the chartered libertine of British matrons, and assaulteth where she listeth. The blows I have endured from her? She fights people who are getting into 'buses. It is no mere accidental jostling, but a deliberate shouldering, poking with umbrellas, and clawing. It is her delight to go to the Regent Circus corner of Piccadilly, about half-past seven in the evening, accompanied by a genteel rout of daughters, and fill up whole omnibuses with them. At that hour there are work-girls and tired clerks, and the like worn-out anaemic humanity trying to get home for an hour or so of rest before bed, and they crowd round the 'buses very eagerly. They are little able to cope with her exuberant vitality, being ill-nourished and tired from the day's work, and she simply mows through them and fills up every vacant place they covet before their eyes. Then, I can never count change even when my mind is tranquil, and she knows that, and swoops threateningly upon me in booking offices and stationers' shops. When I am dodging cabs at crossings she will appear from behind an omnibus or carriage and butt into me furiously. She holds her umbrella in her folded arms just as the Punch puppet does his staff, and with as deadly effect. Sometimes she discards her customary navy blue and puts on a glittering bonnet with bead trimmings, and goes and hurts people who are waiting to enter the pit at theatres, and especially to hurt me. She is fond of public shows, because they afford such possibilities of hurting me. Once I saw her standing partly on a seat and partly on another lady in the church of St. George's, Hanover Square, partly, indeed, watching a bride cry, but chiefly, I expect, scheming how she could get round to me and hurt me. Then there was an occasion at the Academy when she was peculiarly aggressive. I was sitting next my lame friend when she marked me. Of course she came at once and sat right upon us. "Come along, Jane," I heard her say, as I struggled to draw my flattened remains from under her; "this gentleman will make room."

My friend was not so entangled and had escaped on the other side. She noticed his walk. "Oh, don't you get up," she said. "This gentleman," she indicated my convulsive struggles to free myself, "will do that. I did not see that you were a cripple."

It may be some of my readers will recognise the lady now. It can be—for the honour of womankind—only one woman. She is an atavism, a survival of the age of violence, a Palaeolithic squaw in petticoats. I do not know her name and address or I would publish it. I do not care if she kills me the next time she meets me, for the limits of endurance have been passed. If she kills me I shall die a martyr in the cause of the Queen's peace. And if it is only one woman, then it was the same lady, more than half intoxicated, that I saw in the Whitechapel Road cruelly ill-treating a little costermonger. If it was not she it was certainly her sister, and I do not care who knows it.

What to do with her I do not know. A League, after all, seems ineffectual; she would break up any League. I have thought of giving her in charge for assault, but I shrink from the invidious publicity of that. Still, I am in grim earnest to do something. I think at times that the compulsory adoption of a narrow doorway for churches and places of public entertainment might be some protection for quiet, inoffensive people. How she would rage outside to be sure! Yet that seems a great undertaking.

But this little paper is not so much a plan of campaign as a preliminary defiance. Life is a doubtful boon while one is never safe from assault, from hitting and shoving, from poking with umbrellas, being sat upon, and used as a target for projectile nephews and nieces. I warn her—possibly with a certain quaver in my voice—that I am in revolt. If she hits me again——I will not say the precise thing I will do, but I warn her, very solemnly and deliberately, that she had better not hit me again.

And so for the present the matter remains.



THE SHOPMAN

If I were really opulent, I would not go into a shop at all—I would have a private secretary. If I were really determined, Euphemia would do these things. As it is, I find buying things in a shop the most exasperating of all the many trying duties of life. I am sometimes almost tempted to declare myself Adamite to escape it. The way the shopman eyes you as you enter his den, the very spread of his fingers, irritate me. "What can I have the pleasure?" he says, bowing forward at me, and with his eye on my chin—and so waits.

Now I hate incomplete sentences, and confound his pleasure! I don't go into a shop to give a shopman pleasure. But your ordinary shopman must needs pretend you delight and amuse him. I say, trying to display my dislike as plainly as possible, "Gloves." "Gloves, yessir," he says. Why should he? I suppose he thinks I require to be confirmed in my persuasion that I want gloves. "Calf—kid—dogskin?" How should I know the technicalities of his traffic? "Ordinary gloves," I say, disdaining his petty distinctions. "About what price, sir?" he asks.

Now that always maddens me. Why should I be expected to know the price of gloves? I'm not a commercial traveller nor a wholesale dealer, and I don't look like one. Neither am I constitutionally parsimonious nor petty. I am a literary man, unworldly, and I wear long hair and a soft hat and a peculiar overcoat to indicate the same to ordinary people. Why, I say, should I know the price of gloves? I know they are some ordinary price—elevenpence-halfpenny, or three-and-six, or seven-and-six, or something—one of those prices that everything is sold at—but further I don't go. Perhaps I say elevenpence-halfpenny at a venture.

His face lights up with quiet malice. "Don't keep them, sir," he says. I can tell by his expression that I am ridiculously low, and so being snubbed. I think of trying with three-and-six, or seven-and-six; the only other probable prices for things that I know, except a guinea and five pounds. Then I see the absurdity of the business, and my anger comes surging up.

"Look here!" I say, as bitterly as possible. "I don't come here to play at Guessing Games. Never mind your prices. I want some gloves. Get me some!"

This cows him a little, but very little. "May I ask your size, sir?" he says, a trifle more respectfully.

One would think I spent all my time remembering the size of my gloves. However, it is no good resenting it. "It's either seven or nine," I say in a tired way.

He just begins another question, and then he catches my eye and stops and goes away to obtain some gloves, and I get a breathing space. But why do they keep on with this cross-examination? If I knew exactly what I wanted—description, price, size—I should not go to a shop at all, it would save me such a lot of trouble just to send a cheque to the Stores. The only reason why I go into a tradesman's shop is because I don't know what I want exactly, am in doubt about the name or the size, or the price, or the fashion, and want a specialist to help me. The only reason for having shopmen instead of automatic machines is that one requires help in buying things. When I want gloves, the shopman ought to understand his business sufficiently well to know better than I do what particular kind of gloves I ought to be wearing, and what is a fair price for them. I don't see why I should teach him what is in fashion and what is not. A doctor does not ask you what kind of operation you want and what price you will pay for it. But I really believe these outfitter people would let me run about London wearing white cotton gloves and a plaid comforter without lifting a finger to prevent me.

And, by the bye, that reminds me of a scandalous trick these salesmen will play you. Sometimes they have not the thing you want, and then they make you buy other things. I happen to have, through no fault of my own, a very small head, and consequently for one long summer I wore a little boy's straw hat about London with the colours of a Paddington Board School, simply because a rascal outfitter hadn't my size in a proper kind of headgear, and induced me to buy the thing by specious representations. He must have known perfectly well it was not what I ought to wear. It seems never to enter into a shopman's code of honour that he ought to do his best for his customer. Since that, however, I have noticed lots of people about who have struck me in a new light as triumphs of the salesman, masterpieces in the art of incongruity; age in the garb of youth, corpulence put off with the size called "slender men's"; unhappy, gentle, quiet men with ties like oriflammes, breasts like a kingfisher's, and cataclysmal trouser patterns. Even so, if the shopkeeper had his will, should we all be. Those poor withered maiden ladies, too, who fill us with a kind of horror, with their juvenile curls, their girlish crudity of colouring, their bonnets, giddy, tottering, hectic. It overcomes me with remorse to think that I myself have accused them of vanity and folly. It overcomes me with pain to hear the thoughtless laugh aloud after them, in the public ways. For they are simply short-sighted trustful people, the myopic victims of the salesman and saleswoman. The little children gibe at them, pelt even.... And somewhere in the world a draper goes unhung.

However, the gloves are bought. I select a pair haphazard, and he pretends to perceive they fit perfectly by putting them over the back of my hand. I make him assure me of the fit, and then buy the pair and proceed to take my old ones off and put the new on grimly. If they split or the fingers are too long—glovemakers have the most erratic conceptions of the human finger—I have to buy another pair.

But the trouble only begins when you have bought your thing. "Nothing more, sir?" he says. "Nothing," I say. "Braces?" he says. "No, thank you," I say. "Collars, cuffs?" He looks at mine swiftly but keenly, and with an unendurable suspicion.

He goes on, item after item. Am I in rags, that I should endure this thing? And I get sick of my everlasting "No, thank you"—the monotony shows up so glaringly against his kaleidoscope variety. I feel all the unutterable pettiness, the mean want of enterprise of my poor little purchase compared with the catholic fling he suggests. I feel angry with myself for being thus played upon, furiously angry with him. "No, no!" I say.

"These tie-holders are new." He proceeds to show me his infernal tie-holders. "They prevent the tie puckering," he says with his eye on mine. It's no good. "How much?" I say.

This whets him to further outrage. "Look here, my man!" I say at last, goaded to it, "I came here for gloves. After endless difficulties I at last induced you to let me have gloves. I have also been intimidated, by the most shameful hints and insinuations, into buying that beastly tie-holder. I'm not a child that I don't know my own needs. Now will you let me go? How much do you want?"

That usually checks him.

The above is a fair specimen of a shopman—a favourable rendering. There are other things they do, but I simply cannot write about them because it irritates me so to think of them. One infuriating manoeuvre is to correct your pronunciation. Another is to make a terrible ado about your name and address—even when it is quite a well-known name.

After I have bought things at a shop I am quite unfit for social intercourse. I have to go home and fume. There was a time when Euphemia would come and discuss my purchase with a certain levity, but on one occasion....

Some day these shopmen will goad me too far. It's almost my only consolation, indeed, to think what I am going to do when I do break out. There is a salesman somewhere in the world, he going on his way and I on mine, who will, I know, prove my last straw. It may be he will read this—amused—recking little of the mysteries of fate.... Is killing a salesman murder, like killing a human being?



THE BOOK OF CURSES

Professor Gargoyle, you must understand, has travelled to and fro in the earth, culling flowers of speech: a kind of recording angel he is, but without any sentimental tears. To be plain, he studies swearing. His collection, however, only approaches completeness in the western departments of European language. Going eastward he found such an appalling and tropical luxuriance of these ornaments as to despair at last altogether of even a representative selection. "They do not curse," he says, "at door-handles, and shirt-studs, and such other trifles as will draw down the meagre discharge of an Occidental, but when they do begin——

"I hired a promising-looking man at Calcutta, and after a month or so refused to pay his wages. He was unable to get at me with the big knife he carried, because the door was locked, so he sat on his hams outside under the verandah, from a quarter-past six in the morning until nearly ten, cursing—cursing in one steady unbroken flow—an astonishing spate of blasphemy. First he cursed my family, from me along the female line back to Eve, and then, having toyed with me personally for a little while, he started off along the line of my possible posterity to my remotest great-grandchildren. Then he cursed me by this and that. My hand ached taking it down, he was so very rich. It was a perfect anthology of Bengali blasphemy—vivid, scorching, and variegated. Not two alike. And then he turned about and dealt with different parts of me. I was really very fortunate in him. Yet it was depressing to think that all this was from one man, and that there are six hundred million people in Asia."

"Naturally," said the Professor in answer to my question, "these investigations involve a certain element of danger. The first condition of curse-collecting is to be unpopular, especially in the East, where comminatory swearing alone is practised, and you have to offend a man very grievously to get him to disgorge his treasure. In this country, except among ladies in comparatively humble circumstances, anything like this fluent, explicit, detailed, and sincere cursing, aimed, missile-fashion, at a personal enemy, is not found. It was quite common a few centuries ago; indeed, in the Middle Ages it was part of the recognised procedure. Aggrieved parties would issue a father's curse, an orphan's curse, and so forth, much as we should take out a county court summons. And it played a large part in ecclesiastical policy too. At one time the entire Church militant here on earth was swearing in unison, and the Latin tongue, at the Republic of Venice—a very splendid and imposing spectacle. It seems to me a pity to let these old customs die out so completely. I estimate that more than half these Gothic forms have altogether passed out of memory. There must have been some splendid things in Erse and Gaelic too; for the Celtic mind, with its more vivid sense of colour, its quicker transitions, and deeper emotional quality, has ever over-cursed the stolid Teuton. But it is all getting forgotten.

"Indeed, your common Englishman now scarcely curses at all. A more colourless and conventional affair than what in England is called swearing one can scarcely imagine. It is just common talk, with some half-dozen orthodox bad words dropped in here and there in the most foolish and illogical manner. Fancy having orthodox unorthodox words! I remember one day getting into a third-class smoking carriage on the Metropolitan Railway about one o'clock, and finding it full of rough working men. Everything they said was seasoned with one incredibly stupid adjective, and no doubt they thought they were very desperate characters. At last I asked them not to say that word again. One forthwith asked me 'What the ——'—I really cannot quote these puerilities—'what the idiotic cliche that mattered to me?' So I looked at him quietly over my glasses, and I began. It was a revelation to these poor fellows. They sat open-mouthed, gasping. Then those that were nearest me began to edge away, and at the very next station they all bundled out of the carriage before the train stopped, as though I had some infectious disease. And the thing was just a rough imperfect rendering of some mere commonplaces, passing the time of day as it were, with which the heathen of Aleppo used to favour the servants of the American missionary. Indeed," said Professor Gargoyle, "if it were not for women there would be nothing in England that one could speak of as swearing at all."

"I say," said I, "is not that rather rough on the ladies?"

"Not at all; they have agreed to consider certain words, for no very good reason, bad words. It is a pure convention; it has little or nothing to do with the actual meaning, because for every one of these bad words there is a paraphrase or synonym considered to be quite suitable for polite ears. Hence the feeblest creature can always produce a sensation by breaking the taboo. But women are learning how to undo this error of theirs now. The word 'damn,' for instance, is, I hear, being admitted freely into the boudoir and feminine conversation; it is even considered a rather prudish thing to object to this word. Now, men, especially feeble men, hate doing things that women do. As a consequence, men who go about saying 'damn' are now regarded by their fellow-men as only a shade less effeminate than those who go about saying 'nasty' and 'horrid.' The subtler sex will not be long in noticing what has happened to this objectionable word. When they do they will, of course, forthwith take up all the others. It will be a little startling perhaps at first, but in the end there will be no swearing left. I have no doubt there will be those who will air their petty wit on the pioneer women, but where a martyr is wanted a woman can always be found to offer herself. She will clothe herself in cursing, like the ungodly, and perish in that Nessus shirt, a martyr to pure language. And then this dull cad swearing—a mere unnecessary affectation of coarseness—will disappear. And a very good job too.

"There is a pretty department of the subject which I might call grace swearing. 'Od's fish,' cried the king, when he saw the man climbing Salisbury spire; 'he shall have a patent for it—no one else shall do it.' One might call such little things Wardour Street curses. 'Od's bodkins' is a ladylike form, and 'Od's possles' a variety I met in the British Museum. Every gentleman once upon a time aspired to have his own particular grace curse, just as he liked to have his crest, and his bookplate, and his characteristic signature. It fluttered pleasantly into his conversation, as Mr. Whistler's butterfly comes into his pictures—a signature and a delight. 'Od's butterfly!' I have sometimes thought of a little book of grace-words and heraldic curses, printed with wide margins on the best of paper. Its covers should be of soft red leather, stamped with little gold flowers. It might be made a birthday book, or a pocket diary—'Daily Invocations.'

"Coming back to wrathy swearing, I must confess I am sorry to see it decay. It was such a thoroughly hygienic and moral practice. You see, if anything annoying happens to a man, or if any powerful emotion seizes him, his brain under the irritation begins to disengage energy at a tremendous rate. He has to use all his available force of control in keeping the energy in. Some of it will leak away into the nerves of his face and distort his features, some may set his tear-glands at work, some may travel down his vagus nerve and inhibit his heart's action so that he faints, or upset the blood-vessels in his head and give him a stroke. Or if he pens it up, without its reaching any of these vents, it may rise at last to flood-level, and you will have violent assaults, the breaking of furniture, 'murther' even. For all this energy a good flamboyant, ranting swear is Nature's outlet. All primitive men and most animals swear. It is an emotional shunt. Your cat swears at you because she does not want to scratch your face. And the horse, because he cannot swear, drops dead. So you see my reason for regretting the decay of this excellent and most wholesome practice....

"However, I must be getting on. Just now I am travelling about London paying cabmen their legal fares. Sometimes one picks up a new variant, though much of it is merely stereo."

And with that, flinging a playful curse at me, he disappeared at once into the tobacco smoke from which I had engendered him. An amusing and cheerful person on the whole, though I will admit his theme was a little undesirable.



DUNSTONE'S DEAR LADY

The story of Dunstone is so slight, so trivial in its cardinal incidents, such a business of cheap feathers and bits of ribbon on the surface, that I should hesitate to tell it, were it not for its Inwardness, what one might call the symbolism of the thing. Frankly, I do not clearly see what that symbolism is, but I feel it hovering in some indefinable way whenever I recall his case. It is one of those things that make a man extend his arm and twiddle his fingers, and say, blinking, "Like that, you know." So do not imagine for one moment that this is a shallow story, simply because it is painted, so to speak, not in heart's blood but in table claret.

Dunstone was a strong, quiet kind of man—a man of conspicuous mediocrity, and rising rapidly, therefore, in his profession. He was immensely industrious, and a little given to melancholia in private life. He smoked rather too many cigars, and took his social occasions seriously. He dressed faultlessly, with a scrupulous elimination of style. Unlike Mr. Grant Allen's ideal man, he was not constitutionally a lover; indeed, he seemed not to like the ordinary girl at all—found her either too clever or too shallow, lacking a something. I don't think he knew quite what it was. Neither do I—it is a case for extended hand and twiddling fingers. Moreover, I don't think the ordinary girl took to Dunstone very much.

He suffered, I fancy, from a kind of mental greyness; he was all subtle tones; the laughter of girls jarred upon him; foolish smartness or amiable foolishness got on his nerves; he detested, with equal sincerity, bright dressing, artistic dabbling, piety, and the glow of health. And when, as his confidential friend—confidential, that is, so far as his limits allowed—I heard that he intended to marry, I was really very much surprised.

I expected something quintessential; I was surprised to find she was a visiting governess. Harringay, the artist, thought there was nothing in her, but Sackbut, the art critic, was inclined to admire her bones. For my own part, I took rather a liking to her. She was small and thin, and, to be frank, I think it was because she hardly got enough to eat—of the delicate food she needed. She was shabby, too, dressed in rusty mourning—she had recently lost her mother. But she had a sweet, low voice, a shrinking manner, rather a graceful carriage, I thought, and, though she spoke rarely, all she said was sweet and sane. She struck me as a refined woman in a blatant age. The general effect of her upon me was favourable; upon Dunstone it was tremendous. He lost a considerable proportion of his melancholia, and raved at times like a common man. He called her in particular his "Dear Lady" and his "Sweet Lady," things that I find eloquent of what he found in her. What that was I fancy I understand, and yet I cannot say it quite. One has to resort to the extended arm and fingers vibratile.

Before he married her—which he did while she was still in half-mourning—there was anxiety about her health, and I understood she needed air and exercise and strengthening food. But she recovered rapidly after her marriage, her eyes grew brighter, we saw less of Sackbut's "delicious skeleton." And then, in the strangest way, she began to change. It is none of my imagining; I have heard the change remarked upon by half a dozen independent observers. Yet you would think a girl of three-and-twenty (as she certainly was) had attained her development as a woman. I have heard her compared to a winter bud, cased in its sombre scales, until the sun shone, and the warm, moist winds began to blow. I noticed first that the delicate outline of her cheek was filling, and then came the time when she reverted to colour in her dress.

Her first essays were charitably received. Her years of struggle, her year of mourning, had no doubt dwarfed her powers in this direction; presently her natural good taste would reassert itself. But the next effort and the next were harder to explain. It was not the note of nervousness or inexperience we saw; there was an undeniable decision, and not a token of shame. The little black winter bud grew warm-coloured above, and burst suddenly into extravagant outlines and chromatic confusion. Harringay, who is a cad, first put what we were all feeling into words. "I've just seen Dunstone and his donah," he said. Clearly she was one of those rare women who cannot dress. And that was not all. A certain buoyancy, hitherto unsuspected, crept into her manner, as the corpuscles multiplied in her veins—an archness. She talked more, and threw up a spray of playfulness. And, with a growing energy, she began to revise the exquisite aesthetic balance of Dunstone's house. She even enamelled a chair.

For a year or so I was in the East. When I returned Mrs. Dunstone amazed me. In some odd way she had grown, she had positively grown. She was taller, broader, brighter—infinitely brighter. She wore a diamond brooch in the afternoon. The "delicious skeleton" had vanished in plumpness. She moved with emphasis. Her eye—which glittered—met mine bravely, and she talked as one who would be heard. In the old days you saw nothing but a rare timid glance from under the pretty lids. She talked now of this and that, of people of "good family," and the difficulty of getting a suitable governess for her little boy. She said she objected to meeting people "one would not care to invite to one's house." She swamped me with tea and ruled the conversation, so that Dunstone and I, who were once old friends, talked civil twaddle for the space of one hour—theatres, concerts, and assemblies chiefly—and then parted again. The furniture had all been altered—there were two "cosy nooks" in the room after the recipe in the Born Lady. It was plain to me, it is plain to everyone, I find, that Mrs. Dunstone is, in the sun of prosperity, rapidly developing an extremely florid vulgarity. And afterwards I discovered that she had forgotten her music, and evidently enjoyed her meals. Yet I for one can witness that five years ago there was that about her—I can only extend my arm with quivering digits. But it was something very sweet and dainty, something that made her white and thoughtful, and marked her off from the rest of womankind. I sometimes fancy it may have been anaemia in part, but it was certainly poverty and mourning in the main.

You may think that this is a story of disillusionment. When I first heard the story, I thought so too. But, so far as Dunstone goes, that is not the case. It is rare that I see him now, but the other day we smoked two cigars apiece together. And in a moment of confidence he spoke of her. He said how anxious he felt for her health, called her his "Dainty Little Lady," and spoke of the coarseness of other women. I am afraid this is not a very eventful story, and yet there is that——That very convenient gesture, an arm protruded and flickering fingers, conveys my meaning best. Perhaps you will understand.



EUPHEMIA'S NEW ENTERTAINMENT

Euphemia has great ideas of putting people at their ease, a thousand little devices for thawing the very stiffest among them with a home-like glow. Far be it from me to sing her praises, but I must admit that at times she is extremely successful in this—at times almost too successful. That tea-cake business, for instance. No doubt it's a genial expedient to make your guests toast his own tea-cake: down he must go upon his knees upon your hearthrug, and his poses will melt away like the dews of the morning before the rising sun. Nevertheless, when it comes to roasting a gallant veteran like Major Augustus, deliberately roasting him, in spite of the facts that he has served his country nobly through thirty irksome years of peace, and that he admires Euphemia with a delicate fervour—roasting him, I say, alive, as if he were a Strasburg goose, or suddenly affixing a delicate young genius to the hither end of a toasting-fork while he is in the midst of a really very subtle and tender conversation, the limits of social warmth seem to be approaching dangerously near. However, this scarcely concerns Euphemia's new entertainment.

This new entertainment is modelling in clay. Euphemia tells me it is to be quite the common thing this winter. It is intended especially for the evening, after a little dinner. As the reader is aware, the evening after a little dinner is apt to pall. A certain placid contentment creeps over people. I don't know in what organ originality resides; but it's a curious thing, and one I must leave to the consideration of psychologists, that people's output of original remarks appears to be obstructed in some way after these gastronomic exercises. Then a little dinner always confirms my theory of the absurdity of polygonal conversation. Music and songs, too, have their drawbacks, especially gay songs; they invariably evoke a vaporous melancholy. Card-playing Euphemia objects to because her uncle, the dean, is prominent in connection with some ridiculous association for the suppression of gambling; and in what are called "games" no rational creature esteeming himself an immortal soul would participate. In this difficulty it was that Euphemia—decided, I fancy, by the possession of certain really very becoming aprons—took up this business of clay-modelling.

You have a lump of greyish clay and a saucer of water and certain small tools of wood (for which I cannot discover the slightest use in the world) given you, and Euphemia puts on a very winning bib. Then, moistening the clay until it acquires sufficient plasticity, and incidentally splashing your cuffs and coat-sleeves with an agreeably light tinted mud, you set to work. At first people are a little disgusted at the apparent dirtiness of the employment, and also perhaps rather diffident. The eldest lady says weakly deprecatory things, and the feeblest male is jocular after his wont. But it is remarkable how soon the charm of this delightful occupation seizes hold of you. For really the sensations of moulding this plastic matter into shape are wonderfully and quite unaccountably pleasing. It is ever so much easier than drawing things—"anyone can do it," as the advertisement people say—and the work is so much more substantial in its effects. Technical questions arise. In moulding a head, do you take a lump and fine it down, or do you dab on the features after the main knob of it is shaped?

So soon as your guests realise the plastic possibilities before them, a great silence, a delicious absorption comes over them. Some rash person states that he is moulding an Apollo, or a vase, or a bust of Mr. Gladstone, or an elephant, or some such animal. The wiser ones go to work in a speculative spirit, aiming secretly at this perhaps, but quite willing to go on with that, if Providence so wills it. Buddhas are good subjects; there is a certain genial rotundity not difficult to attain, and the pyramidal build of the idol is well suited to the material. You can start a Buddha, and hedge to make it a loaf of bread if the features are unsatisfactory. For slender objects a skeletal substructure of bent hairpins or matches is advisable. The innate egotism of the human animal becomes very conspicuous. "His tail is too large," says the lady with the fish, in self-criticism. "I haven't put his tail on yet—that's his trunk," answers the young man with the elephant.



It's a pretty sight to see the first awakening of the artistic passion in your guests—the flush of discovery, the glow of innocent pride as the familiar features of Mr. Gladstone emerge from the bust of Clytie. An accidental stroke of the thumbnail develops new marvels of expression. (By the bye, it's just as well to forbid deliberate attempts at portraiture.) And I know no more becoming expression for everyone than the look of intent and pleasing effort—a divine touch almost—that comes over the common man modelling. For my own part, I feel a being infinitely my own superior when I get my fingers upon the clay. And, incidentally, how much pleasanter this is than writing articles—to see the work grow altogether under your hands; to begin with the large masses and finish with the details, as every artist should! Just to show how easy the whole thing is, I append a little sketch of the first work I ever did. I had had positively no previous instruction. Unfortunately the left ear of the animal—a cat, by the bye—has fallen off. (The figure to the left is the back view of a Buddha.)

However, I have said enough to show the charm of the new amusement. It will prove a boon to many a troubled hostess. The material is called modelling-clay, and one may buy it of any dealer in artists' materials, several pounds for sixpence. This has to be renewed at intervals, as a good deal is taken away by the more careless among your guests upon their clothes.



FOR FREEDOM OF SPELLING

THE DISCOVERY OF AN ART

It is curious that people do not grumble more at having to spell correctly. Yet one may ask, Do we not a little over-estimate the value of orthography? This is a natural reflection enough when the maker of artless happy phrases has been ransacking the dictionary for some elusive wretch of a word which in the end proves to be not yet naturalised, or technical, or a mere local vulgarity; yet one does not often hear the idea canvassed in polite conversation. Dealers in small talk, of the less prolific kind, are continually falling back upon the silk hat or dress suit, or some rule of etiquette or other convention as a theme, but spelling seems to escape them. The suspicion seems quaint, but one may almost fancy that an allusion to spelling savoured a little of indelicacy. It must be admitted, though where the scruples come from would be hard to say, that there is a certain diffidence even here in broaching my doubts in the matter. For some inexplicable reason spelling has become mixed up with moral feeling. One cannot pretend to explain things in a little paper of this kind; the fact is so. Spelling is not appropriate or inappropriate, elegant or inelegant; it is right or wrong. We do not greatly blame a man for turn-down collars when the vogue is erect; nor, in these liberal days, for theological eccentricity; but we esteem him "Nithing" and an outcast if he but drop a "p" from opportunity. It is not an anecdote, but a scandal, if we say a man cannot spell his own name. There is only one thing esteemed worse before we come to the deadly crimes, and that is the softening of language by dropping the aspirate.

After all, it is an unorthodox age. We are all horribly afraid of being bourgeois, and unconventionality is the ideal of every respectable person. It is strange that we should cling so steadfastly to correct spelling. Yet again, one can partly understand the business, if one thinks of the little ways of your schoolmaster and schoolmistress. This sanctity of spelling is stamped upon us in our earliest years. The writer recalls a period of youth wherein six hours a week were given to the study of spelling, and four hours to all other religious instruction. So important is it, that a writer who cannot spell is almost driven to abandon his calling, however urgent the thing he may have to say, or his need of the incidentals of fame. Yet in the crisis of such a struggle rebellious thoughts may arise. Even this: Why, after all, should correct spelling be the one absolutely essential literary merit? For it is less fatal for an ambitious scribe to be as dull as Hoxton than to spell in diverse ways.

Yet correct spelling of English has not been traced to revelation; there was no grammatical Sinai, with a dictionary instead of tables of stone. Indeed, we do not even know certainly when correct spelling began, which word in the language was first spelt the right way, and by whom. Correct spelling may have been evolved, or it may be the creation of some master mind. Its inventor, if it had an inventor, is absolutely forgotten. Thomas Cobbett would have invented it, but that he was born more than two centuries too late, poor man. All that we certainly know is that, contemporaneously with the rise of extreme Puritanism, the belief in orthography first spread among Elizabethan printers, and with the Hanoverian succession the new doctrine possessed the whole length and breadth of the land. At that time the world passed through what extension lecturers call, for no particular reason, the classical epoch. Nature—as, indeed, all the literature manuals testify—was in the remotest background then of human thought. The human mind, in a mood of the severest logic, brought everything to the touchstone of an orderly reason; the conception of "correctness" dominated all mortal affairs. For instance, one's natural hair with its vagaries of rat's tails, duck's tails, errant curls, and baldness, gave place to an orderly wig, or was at least decently powdered. The hoop remedied the deficiencies of the feminine form, and the gardener clipped his yews into respectability. All poetry was written to one measure in those days, and a Royal Academy with a lady member was inaugurated that art might become at least decent. Dictionaries began. The crowning glory of Hanoverian literature was a Great Lexicographer.

In those days it was believed that the spelling of every English word had been settled for all time. Thence to the present day, though the severities then inaugurated, so far as metre and artistic composition are concerned, been generously relaxed—though we have had a Whistler, a Walt Whitman, and a Wagner—the rigours of spelling have continued unabated. There is just one right way of spelling, and all others are held to be not simply inelegant or undesirable, but wrong; and unorthodox spelling, like original morality, goes hand in hand with shame.

Yet even at the risk of shocking the religious convictions of some, may not one ask whether spelling is in truth a matter of right and wrong at all? Might it not rather be an art? It is too much to advocate the indiscriminate sacking of the alphabet, but yet it seems plausible that there is a happy medium between a reckless debauch of errant letters and our present dead rigidity. For some words at anyrate may there not be sometimes one way of spelling a little happier, sometimes another? We do something of this sort even now with our "phantasy" and "fantasie," and we might do more. How one would spell this word or that would become, if this latitude were conceded, a subtle anxiety of the literary exquisite. People are scarcely prepared to realise what shades of meaning may be got by such a simple device. Let us take a simple instance. You write, let us say, to all your cousins, many of your friends, and even, it may be, to this indifferent intimate and that familiar enemy, "My dear So-and-so." But at times you feel even as you write, sometimes, that there is something too much and sometimes something lacking. You may even get so far in the right way occasionally as to write, "My dr. So-and-so," when your heart is chill. And people versed in the arts of social intercourse know the subtle insult of misspelling a person's name, or flicking it off flippantly with a mere waggling wipe of the pen. But these are mere beginnings.

Let the reader take a pen in hand and sit down and write, "My very dear wife." Clean, cold, and correct this is, speaking of orderly affection, settled and stereotyped long ago. In such letters is butcher's meat also "very dear." Try now, "Migh verrie deare Wyfe." Is it not immediately infinitely more soft and tender? Is there not something exquisitely pleasant in lingering over those redundant letters, leaving each word, as it were, with a reluctant caress? Such spelling is a soft, domestic, lovingly wasteful use of material. Or, again, if you have no wife, or object to an old-fashioned conjugal tenderness, try "Mye owne sweete dearrest Marrie." There is the tremble of a tenderness no mere arrangement of trim everyday letters can express in those double r's. "Sweete" my ladie must be; sweet! why pump-water and inferior champagne, spirits of nitrous ether and pancreatic juice are "sweet." For my own part I always spell so, with lots of f's and g's and such like tailey, twirley, loopey things, when my heart is in the tender vein. And I hold that a man who will not do so, now he has been shown how to do it, is, in plain English, neither more nor less than a prig. The advantages of a varied spelling of names are very great. Industrious, rather than intelligent, people have given not a little time, and such minds as they have, to the discussion of the right spelling of our great poet's name. But he himself never dreamt of tying himself down to one presentation of himself, and was—we have his hand for it—Shakespeare, Shakspear, Shakespear, Shakspeare, and so forth, as the mood might be. It would be almost as reasonable to debate whether Shakespeare smiled or frowned. My dear friend Simmongues is the same. He is "Sims," a mere slash of the pen, to those he scorns, Simmonds or Simmongs to his familiars, and Simmons, A.T. Simmons, Esq., to all Europe.

From such mere introductory departures from precision, such petty escapades as these, we would we might seduce the reader into an utter debauch of spelling. But a sudden Maenad dance of the letters on the page, gleeful and iridescent spelling, a wild rush and procession of howling vowels and clattering consonants, might startle the half-won reader back into orthodoxy. Besides, there is another reader—the printer's reader—to consider. For if an author let his wit run to these matters, he must write elaborate marginal exhortations to this authority, begging his mercy, to let the little flowers of spelling alone. Else the plough of that Philistine's uniformity will utterly root them out.

Such high art of spelling as is thus hinted at is an art that has still to gather confidence and brave the light of publicity. A few, indeed, practise it secretly for love—in letters and on spare bits of paper. But, for the most part, people do not know that there is so much as an art of spelling possible; the tyranny of orthography lies so heavily on the land. Your common editors and their printers are a mere orthodox spelling police, and at the least they rigorously blot out all the delightful frolics of your artist in spelling before his writings reach the public eye. But commonly, as I have proved again and again, the slightest lapse into rococo spelling is sufficient to secure the rejection of a manuscript without further ado.

And to end,—a word about Phonographers. It may be that my title has led the reader to anticipate some mention of these before. They are a kind of religious sect, a heresy from the orthodox spelling. They bind one another by their mysteries and a five-shilling subscription in a "soseiti to introduis an impruvd method of spelinj." They come across the artistic vision, they and their Soseiti, with an altogether indefinable offence. Perhaps the essence of it is the indescribable meanness of their motive. For this phonography really amounts to a study of the cheapest way of spelling words. These phonographers are sweaters of the Queen's English, living meanly on the selvage of honest mental commerce by clipping the coin of thought. But enough of them. They are mentioned here only to be disavowed. They would substitute one narrow orthodoxy for another, and I would unfold the banner of freedom. Spell, my brethren, as you will! Awake, arise, O language living in chains; let Butter's spelling be our Bastille! So with a prophetic vision of liberated words pouring out of the dungeons of a spelling-book, this plea for freedom concludes. What trivial arguments there are for a uniform spelling I must leave the reader to discover. This is no place to carp against the liberation I foresee, with the glow of the dawn in my eyes.



INCIDENTAL THOUGHTS ON A BALD HEAD

I was asked to go, quite suddenly, and found myself there before I had time to think of what it might be. I understood her to say it was a meeting of some "Sunday society," some society that tried to turn the Sabbath from a day of woe to a day of rejoicing. "St. George's Hall, Langham Place," a cab, and there we were. I thought they would be picturesque Pagans. But the entertainment was the oddest it has ever been my lot to see, a kind of mystery. The place was dark, except for a big circle of light on a screen, and a dismal man with a long stick was talking about the effects of alcohol on your muscles. He talked and talked, and people went to sleep all about us. Euphemia's face looked so very pretty in the dim light that I tried to talk to her and hold her hand, but she only said "Ssh!" And then they began showing pictures on the screen—the most shocking things!—stomachs, and all that kind of thing. They went on like that for an hour, and then there was a lot of thumping with umbrellas, and they turned the lights up and we went home. Curious way of spending Sunday afternoon, is it not?