Yes, the true, the tasteful way to pay a poet is by the exchange of some other beautiful thing: by beautiful praise, by a beautiful smile, by a well-shaped tear, by a rose. It is thus that a poet—frequently, I am bound to confess—finds his highest reward.

At the same time, there is a subtle ironic pleasure in taking the world's money for poetry—even though one pays it over to a charity immediately—for one feels that the world, for some reason or another, has been persuaded to buy something which it didn't really want, and which it will throw away so soon as we are round the corner. If the reader has ever published a volume of verse, he must often have chuckled with an unnatural glee over the number of absolutely unpoetic good souls who, from various motives—the unhappy accident of relationship, perhaps—have 'subscribed.' Most of us have sound unpoetic uncles. Of course, you make them buy you—in large-paper too. Have you ever gloatingly pictured their absolute bewilderment as, with a stern sense of family pride, they sit down to cut your pages? Think of the poor souls thus 'moving about in worlds not realised.'

A perfect instance of this cruelty to the Philistine occurs to me. The poet in question is one whose forte is children's poetry. Very tender some of his poems are. You will find them now and again in St. Nicholas, and he is not unknown in this country. With a heart like a lamb for children, he is like a hawk upon the Philistine. I remember an occasion, before he published a volume, when we were together in a tavern in a country-town, a tavern thronged with farmers on market-days. The poet had some prospectuses in his pocket. Suddenly a great John Bull would come bumping in like a cockchafer, and call for his pint. 'Just you watch,' the poet would say, and away he crossed over to his victim. 'Good morning, Mr. Oats!' 'Why, good morning, sir. How-d'ye-do; I hardly know'd thee.' Then presently the voice of the charmer unto the farmer—'Mr. Oats, you care for children, don't you?' 'Ay, ay,' would answer the farmer, a little doubtfully, 'when they're little'uns.' 'Well, you know I'm what they call a poet.' To this Mr. Oats would respond with a good round laugh, as of a man enjoying a good thing. This was very subtle of the poet, for it put the farmer on good terms with himself. He wondered, as he had his laugh over again, how a man could choose to be a poet, when he might have been a farmer. 'Well, I'm bringing out a book of poems all about children—here is one of them!' and the poet would read some humorous thing, such as 'Breeching Tommy.' Then another—such simple pictures of humanity at the age of two, that the farmer could not but be moved to that primary artistic delight, the recognition of the familiar. Then the farmer would grow grave, as he always did at any approach to a purchase, however small, while the poet would rapidly speak of the fitness of the volume as a present to the old woman: 'Women cared for such things,' he would add pityingly. Then the farmer would cautiously ask the price, and blow his cheeks out in surprise on hearing that it was five shillings. He had never given so much for a book in his life. The poet would then insidiously suggest that by subscribing before publication he would save a discount. This would arouse the farmer's instinct for getting things cheap; and so, finally, with a little more 'playing,' Mr. Timothy Oats, of Clod Hall, Salop, was landed high and dry on the subscription list—a list, by the way, which already included all the poet's tradesmen! This is one example of 'how poets sell.'

Yet over and above what we may term these forced sales, the demand for verse, we are assured, is growing. The impression to the contrary on the part of the Philistine is a delusion, a false security. And the demand, a well-known publisher has told us, is an intelligent one, for poetry of the markedly idealistic, or markedly realistic, kind; but to writers of the merely sentimental he can offer no hope. Their golden age, a pretty long one while it lasted, has probably gone for ever.

This is good news for those engaged in growing dreams for the London market.



THE 'GENIUS' SUPERSTITION

It must be very painful to the sentimentalist to notice what common sense is beginning to prevail on one of his pet subjects: that of the ancient immunities of 'genius.' Of course, to a great many good people genius continues still to be accepted as payment in full for every species of obligation, and if a man were a great poet he might probably still ruin a woman's life, and some, in secret at least, would deem that he did God service. There are perhaps even more women than ever nowadays who would, as Keats put it, like to be married to an epic, and given away by a three-volume novel. Such an attitude, however, is more and more taking its place among the superstitions, and the divine right of genius to ride rough-shod over us is at a discount.

At the same time, our national capacity for reaching right conclusions by the wrong course is in this matter once more exemplified. In the main, as usual, our reasoning seems to have been quite astray. We have argued as though for ourselves, and that on those lines we should have reached the sane conclusion is somewhat surprising. Because, indeed, it does pay the world to allow genius to do its pleasure: its victims even have little to complain of; they wear the martyr's crown, and if a few tradesmen or a few women are the worse, it has been deemed just, time out of mind, that such should suffer for the people. But the one whom it does not pay, either in this world or the next, is emphatically the man of genius himself. It is really on his behalf that the protest against his ancient immunities should be made, for

'Whether a man serve God or his own whim Matters not much in the end to any one but Him.'

To take the threadbare instance, the world suffered nothing from the suicide of Harriet Westbrook: rather it gained by one more story of tragic pathos. Harriet herself was no loser, for she had lived her dream, and the stern joy of a great sorrow was granted her to die with: it was only the selfish heart that could leave her thus to suffer and die that was the loser. Not in its relations with the world, fair or ill—such, like all external things, are important only as we take them: but in its diminished capacity to feel greatly and tenderly, in its added numbness, in its less noble beat. It was thus that the cor cordium lost what no lyric passion, no triumphant exultation of success, could give to it again.

However, Shelley and his story belong more or less to the tragic muse, and this subject is, perhaps, rather more the property of the comic: for great poets are rare, and really it is the smaller genius we have always with us that is likely to suffer most from those 'immunities'; still more the talent that would fain bear the greater name, and most of all the misguided industry which is neither the one nor the other.

In this lower sphere, it is not murder and sudden death, and other such volcanic aberrations, that call for condonation; but those offences against that code of daily intercourse which some faulty observer of human life has characterised as 'the minor morals.'

The type of 'genius' I am thinking of probably began life by a misapplication, to himself, of Emerson's essay on Self-Reliance: a great and beautiful essay, but Oh! how much has it to answer for in the survival of the unfittest. Alas! that the wheat and tares must grow together till the harvest. It is the syrup of phosphorus by which weakly mediocrity develops into sturdiness, a sturdy coarseness that else might have died down and been spared us. But, thanks to that or some other artificial fertiliser, it grows up with the idea that the duty which lies nearest to it is to write weary books, paint monotonous pictures, persevere in 'd——d bad acting'; and it fulfils that duty with an energy known only to mediocrity. The literary variety, probably, has the characteristics of the type most fully developed. No one takes himself with more touching seriousness. Day by day he grows in conceit, neglects his temper, especially at home, with a wife who is worth ten of him and all his 'works,' and generally behaves, as the phrase goes, 'as if anything becomes him.' If you visit him en famille, you will find him especially characteristic at meals, during which he is wont to sit absorbed, with an air of 'I cannot shake off the god'; and when they are over he goes off, moodily chewing a toothpick, to his den, where, maybe, the genius finds vent in a dissertation on 'Peg-Tops,' for The Boy's Own, or 'The Noses of Great Men,' for Chambers' Journal.

But if such genius as this be chiefly comic, its work cannot but awaken in one a deep sense of the pathetic. To stand before the poor little picture that has been so much to its painter, and yet holds no spark of vitality or touch of distinction; to take up the poor little book into which all the toil of so many wasted days could breathe no breath of life, formless, uninspired, unnecessary. Think of the pathos of the illusion that has waved 'its purple wings' around these lifeless products, endowing with sensitive expression the wooden lineaments that have really been dead and unexpressive all the time, never glowed at all save to the wistful yearning eye of their befooled creator. Yet if nature be thus cruel to afflict, she is no less kind to console: for the victim of this species of hallucination seldom wakens from the dream. That essay on Self-Reliance is with him to the end.

Yet no less pathetic is it to reflect how his whole development has suffered for this mistake, all his life-blood gone to feed this abortive thing. The gentler charities of life have been neglected, fine qualities atrophied, the man has grown narrow and selfish, all the real things have been lost for this shadow: that he might become, what nature never meant him to be—an artist. All along, when he has made any excuse, it has been 'art.' But, more likely, he has not been asked for excuse, he has lived under the shelter of the 'genius' superstition. He has worn the air of making great sacrifices for the goddess, and in these his intimates have felt a proud sense of awful participation, as of a family whom the gods love. They have never understood that art is a particular form of self-indulgence, by no means confined to artists; that it often becomes no less a vice than opium-eating, and that the same question has to be asked of both—whether the dreams are worth the cost. This might occasionally be asked of the world's famous: not only of those whose art has been the evilly exquisite outcome of spiritual disease, but even of the great sane successful reputations.

There is, too, especially about the latter, perhaps, a touch of comic suggestiveness in the sublime preoccupation to which we owe their great legacies, that look of Atlas which is always pathetic, when it is not foolish, on the face of a mortal: the grand air of a Goethe, the colossal absorption of a Balzac. Their attitude offends one's sense of the relation of things, and we feel that, after all, we could have spared half their works for a larger share of that delicate instinct for proportion, which is one of the most precious attributes of what we call a gentleman. But the demi-god has always much of the nouveau riche about him, and a gentleman is, after all, an exquisite product. Indeed, the world has, one may think, quite enough genius to go on with. It could well do with a few more gentlemen.



A BORROWED SOVEREIGN

(TO MR. AND MRS. WELCH)

Jim lent me a sovereign. He was working hard to make his home, and was saving every penny. However, I took it, for I was really in sore straits. If you have ever known what it is absolutely to need a sovereign, when you have neither banking account nor employment, and your evening clothes are no longer accessible for the last, you will be in a position to understand the transfiguring properties of one small piece of gold. You leave your friend's rooms a different man. Like the virtuous in the Buddhistic round, you go in a beggar and come out a prince. To vary Carlyle's phrase, you can pay for dinners, you can call hansoms, you can take stalls; in fact, you are a prince—to the extent of a sovereign.

And oh! how wooingly does the world seem to nestle round you—the same world that was so cold and haughty ten minutes ago. The world is a courtesan, and has heard you have found a sovereign.

The gaslights seem beaming love at you. So near and bright are the streets, you want to stay out in them all night; though you didn't relish the prospect last evening. O sweet, sweet, siren London, with your golden voice—I have a sovereign!

This, of course, was but the first rich impulse. The sovereign should really be kept for the lodgings. But the snug little oyster-shops about Booksellers' Row are so tempting, and there is nothing like oysters to give one courage to open that giant oyster spoken of by Ancient Pistol.

I went in. I assured my conscience that it should only be 'Anglo-Portuguese,' and that I would forego the roll and butter. But 'Anglos' are not nice, Dutch are in every way to be preferred; and if you are paying eighteenpence you might as well pay three shillings, and what's the use of drawing the line at a roll and butter? No! we will repent after the roll and butter. 'Roll and butter' shall be my Ebenezer. The 'r's' have a notorious mnemonic quality. They will help me to remember.

So I sat down, and, fondling my sovereign in my pocket, fell into a dream. When the oysters came I wished they had been 'Anglos' after all, because my dream had grown beautiful and troublesome, and I had really forgotten the oysters altogether. However, I ate them mechanically, and ordering another half-dozen, so that the manager should not begrudge me my seat, I turned again to my dream.

A young girl sat in a dainty room, writing at a quaint old escritoire, lit by candles in shining brass sconces. She had a sweet blonde face, but more character in it than usually falls to the lot of the English girl. There was experience in the sensitive refinement of her features, a silver touch of suffering: not wasting experience or bitter suffering, but just enough to refine—she had waited. But she had been bravely happy all the time.

Pretty books filled a shelf above her escritoire, and between the candlesticks was a photograph in a filigree silver frame. Towards this she looked every now and then, in the pauses of her writing, with a happy, trustful expression of quiet love. During one pause she noticed that her little clock pointed to 8.30. 'Jim will just be going on,' she said to herself. Yes, that photograph was 'Jim.'

A quaint little face it was, full of sweet wrinkles, and yet but a boy's face. The wrinkles, you could see, were but so many threads of gold which happy laughter had left there. Siss called him her Punchinello, likewise her poet, for Jim is a poet who makes his poetry of his own bright face and body, acts it night after night to an audience, and the people laugh and cry as he plays, for his face is like a bubbling spring, full of laughing eddies on the surface, but ever so deep with sweet freshness beneath—and some catch sight of the deeps. The world knows him as a comedian. Siss knows him as a poet, and because she knows what loving tender tears are in him as well as laughter, she calls him her Punchinello.

This is what she was writing: 'How near our home seems now, Jimmie boy! Every night as you go on—and you are just going on now—I feel our home draw nearer: and, do you know, all this week our star has seemed to grow brighter and brighter. Can you see it in London? It comes out here about six o'clock—first very pale, like a dream, and then fuller and fuller and warmer and warmer. Sometimes I say that it is the sovereigns we are putting into the bank that make it so much brighter; and I am sure it was brighter after that last ten pounds.... You are laughing at me, aren't you? Never mind; you can be just as silly. Dear, dear, funny little face!'

I had reached just so far in my dream when the oysters came, and that is why I wished I had ordered 'Anglos' and no roll.

When I looked again, Siss had stopped writing, and was sitting with her head in her hands dreaming. I looked into her eyes, felt ashamed for a moment, and then stepped into her dream. I felt I was not worthy to walk there, but I took off my hat and told myself that I was reverent.

It was a pretty flat, full of dainty rooms, and I followed her from one to another, and one there was just like that in which I had seen her writing, with the old escritoire, and the books, and the burning candles, and the silver photograph shrine. She walked about very wistfully, and her eyes were full. So were mine, and I wanted to sob, but feared lest she should hear. Presently Jim joined her, and they walked together, and said to each other, 'Think, this is our home at last'—'Think, this is our home at last. O love, our home—together for evermore!'

This they said many times, and at length they came to a room that had a door white as ivory, and I caught a breath of freshest flowers as they opened and passed in.

Then I closed my eyes, and when I looked again I thought an angel stood on the threshold, as I had seen it somewhere in Victor Hugo—a happy angel with finger upon his lip.

And when the dream had gone, and I was once more alone, I said 'Jim is working, Siss is waiting, and I—am eating borrowed oysters.'

Then I took out the sovereign and looked at it, for it was now symbolic. Outside, above the street, a star was shining. I had filched a beam of Siss's star. Was it less bright tonight? Had she missed this sovereign?

It had been symbolic before—a sovereign's-worth of the world, the flesh, and the devil; now it was a sovereign's-worth of holy love and home. Every penny I spent of it dimmed that star, delayed that home. In my pocket it meant a sovereign's-worth more working and waiting. Pay it back again into that star, and it was a sovereign nearer home. Yes, it was a sovereign's-worth of that flat, of that escritoire, those books, those burning candles, that photograph, that ivory-white door, those sweet-smelling flowers, a sovereign's-worth of that angel, I was keeping in my pocket.

Out on it! God forgive me. I had not thought it meant that to borrow a sovereign from Jim, meant that to eat those borrowed oysters. Nevertheless, they had not been all an immoral indulgence. Even oysters may be the instruments of virtue in the hands of Providence.

The shopman knew me, so I 'confounded it' and told him I had come out without my purse. It was all right. Pay next time, Jim's theatre was close by, it was but a stone's-throw to the stage-door. Easy to leave him a note. What will he think, I wonder, as he reads it, and the sovereign rolls out: 'Dear old man, forgive me—I forgot it was a sovereign's-worth of home.'

Yet, after all, it was the oysters that did this thing.



ANARCHY IN A LIBRARY

(A FABLE FOR SOCIALISTS)

Having occasion recently to re-arrange my books, they lay in bewildering jumbled heaps upon my study floor; and, having in vain puzzled over this plan and that which should give the little collection a continuity such as it had never attained before, I at length gave it up in despair, and sat, with my head in my hands, hopeless. Presently I seemed to hear small voices talking in whispers, a curious papery tone, like the fluttering of leaves, and listening I heard distinctly these words:—'The great era of universal equality and redistribution has dawned at last. No one book shall any longer claim more shelf than another, no book shall be taller or thicker than another. The age of folios and quartos is past, and the Age of the Universal Octavo has dawned.'

Looking up, I saw that the voice was that of a shabby, but perky, octavo, which I had forgotten I ever possessed, since the day when some mistaken charity had prompted me to rescue it from the threepenny box and give it a good home in a respectable family of books. Certainly, it had so far filled the humble position of a shelf-liner, and its accidental elevation into daylight on the top of a prostrate folio had evidently turned its head. It was now doing its best to disseminate socialistic principles among the set of scurvy octavos and duodecimos in its neighbourhood.

'Why should we choke with dust in the dark there,' it continued, 'that these splendid creatures should glitter all day in the sunshine, and get all the firelight of an evening? We were born to be read as much as they, born to enjoy our share of the good things of this world as much as my Lord Folio, as much as any Honourable Quarto, or fashionable Large Paper. My Brothers, the hour has come: will you strike now or never, exact your rights as free-born books, or will you go back to be shelf-liners as before?'

[Loud cries of 'No! no! we won't,' here encouraged the speaker.]

'Strike now, and the book unborn shall bless you. Miss this golden opportunity, and the cause we serve will be delayed another hundred editions.'

At this point a great folio that had for some time been leaning threateningly, like a slab at Stonehenge, above the speaker, suddenly fell and silenced him; but he had not spoken in vain, and from various sets of books about the room I heard the voices of excited agitators taking up his words. Then an idea struck me. I was, as I told you, heartily sick of my task of arrangement. Here seemed an opportunity.

'Look here,' I said,'you shall have it all to yourselves. I resign, I abdicate. You shall arrange yourselves as you please, but be quick about it, and let there be as little bloodshed as possible'

With that there arose such a hubbub as was never before heard in a quiet book-room, not even during that famous battle of the St. James's Library in 1697; and conspicuous among the noises was a strange crowing sound as of young cocks, which I was at a loss to understand, till I bethought me how Mentzelius, long ago, sitting in the quiet of his library, had heard the bookworm 'crow like a cock unto his mate.' On looking I saw that the insurgents had indeed pressed into their service a certain politic body of bookworms as joyous heralds, whom I had never suspected of inhabiting my books at all—though, indeed, such hidden creatures do crawl out of their corners in times of upheaval.

It was long before I could disentangle individual voices from the wild chaos of strident theories that surrounded me. But at last there was silence, as one bilious-looking vellum book, old enough to have known better, had evidently caught the ear of the assembled multitudes; and then I understood that the movement had already found its Robespierre. It was clear from his words that the universal gospel of equality, so beautifully expatiated upon before the revolution, had had reference only to those who were already on an equality of that low estate which fears no fall. The only equality now offered to books above the rank of octavo was that of death, which, philosophers have long assured us, makes all men equal, by a short and simple method. There was but one other way—that the quartos should consent to be cut in two, and the folios quartered; but that, alas! meant death no less, for that which alone is of worth in both books and men, the soul, would be no more. So, as it seemed they must die either way, all the condemned chose death before dishonour. Several distinguished folios who, in a quixotism of heart, had flirted with the socialistic leaders when their schemes were but propaganda, and equality had not yet been so rigorously defined, now bitterly repented their folly, and did their best in heading a rally against their foes. That, however, was soon quelled, and but hastened their doom.

'To the guillotine with them!' cried the bilious little octavo, and then I saw that my tobacco-cutter had been extemporised into the deadly engine.

But, hereupon, a voice of humour found hearing, that of a stout 32mo, evidently a philosopher.

'Why shed blood?' he said, 'I have a better plan. Stature is no mark of superiority, but usually the reverse. The mind's the standard of the man. In the world of men the tallest and handsomest are made into servants, and called flunkies, and these wait upon the small men, who have all the money, which among men corresponds to brains among books. Why shouldn't we take a hint from this custom, and turn these tall gaudy gentlemen into our servants, for which all their gilt and fine clothes have already provided them with livery? Ho! Sirrah Folio, come and turn my page!'

But this Lord Folio haughtily refused to do, and, consequently, being too stout to turn his own pages, the little 32mo could say no more. His proposal, though it tickled a few, found no great favour. It was generally agreed that humour had no place in the discussion of a serious question. Another speaker advocated the retention of the condemned as ornaments of the state, but he was very speedily overruled. Was not that the shallow excuse by which they had hung on for ever so long? No, that was quite worn out.

The main question was further obstructed by many outbursts of individualism. Certain self-contained books wished to be left to themselves, and have no part in the social scheme, unless in the event of a return to monarchy, when, they intimated, they might be eligible for election. This, one could see, was the secret hope of all the speakers; and you would have laughed could you have heard what inflated opinions some of them had of their own importance—especially two or three of the minor poets. Then, again, many sentimental demands, quite unforeseen, added to the general anarchy. Collected editions, which had long groaned in the bondage of an arbitrary relationship, saw an opportunity in the general overturn to break away from their sets and join their natural fellows. Sex was naturally the most unruly element of all. Volumes that had waited edition after edition for each other, yearning across the shelves, felt their time had come at last, and leapt into each other's arms. It was with no avail that a distress minute was passed by The Hundred Thousand Committee (a somewhat unworkable body) that henceforth sex was to be a function exercised absolutely for the good of the state: tattered poets were to be seen wildly proclaiming a different doctrine.

Such eccentric attachments as a volume of The Essays of Elia for Margaret, Duchess of Newcastle, were especially troublesome; while the explosion caused by the accidental contact of that same unruly Elia with a modern reprint of The Anatomy of Melancholy, which (he said) he never could tolerate, proved the last straw to the Committee of the Hundred Thousand, who immediately resigned their offices in anger and despair. Thereupon, tenfold chaos once more returning, I thought it time to interfere. The Doctrine of Equality was evidently a failure—among books, at any rate. So I savagely fell to, and threw the books back again into their immemorial places, and the cause of freedom in 'The City of Books' sleeps for another hundred editions.

Only I placed Elia next to the Duchess, because he was a human fellow, and had no theories.



THE PHILOSOPHY OF 'LIMITED EDITIONS'

Why do the heathen so furiously rage against limited issues, large-papers, first editions, and the rest? For there is certainly more to be said for than against them. Broadly speaking, all such 'fads' are worthy of being encouraged, because they maintain, in some measure, the expiring dignity of letters, the mystery of books. Day by day the wonderfulness of life is becoming lost to us. The sanctities of religion are defiled, the 'fairy tales' of science have become commonplaces. Christian mysteries are debased in the streets to the sound of drum and trumpet, and the sensitive ear of the telephone is but a servile drudge 'twixt speculative bacon merchants. And Books!—those miraculous memories of high thoughts and golden moods; those magical shells tremulous with the secrets of the ocean of life; those love-letters that pass from hand to hand of a thousand lovers that never meet; those honeycombs of dreams; those orchards of knowledge; those still-beating hearts of the noble dead; those mysterious signals that beckon along the darksome pathways of the past; voices through which the myriad lispings of the earth find perfect speech; oracles through which its mysteries call like voices in moonlit woods; prisms of beauty; urns stored with all the sweets of all the summers of time; immortal nightingales that sing for ever to the rose of life: Books, Bibles—ah me! what have ye become to-day!

What, indeed, has become of that mystery of the Printed Word, of which Carlyle so movingly wrote? It has gone, it is to be feared, with those Memnonian mornings we sleep through with so determined snore, those ancient mysteries of night we forget beneath the mimic firmament of the music-hall.

Only in the lamplit closet of the bookman, the fanatic of first and fine editions, is it remembered and revered. To him alone of an Americanised, 'pirated-edition' reading world, the book remains the sacred thing it is. Therefore, he would not have it degraded by, so to say, an indiscriminate breeding, such as has also made the children of men cheap and vulgar to each other. We pity the desert rose that is born to unappreciated beauty, the unset gem that glitters on no woman's hand; but what of the book that eats its heart out in the threepenny box, the remainders that are sold ignominiously in job lots by ignorant auctioneers? Have we no feeling for them?

Over-production, in both men and shirts, is the evil of the day. The world has neither enough food, nor enough love, for the young that are born into it. We have more mouths than we can fill, and more books than we can buy. Well, the publisher and collector of limited editions aim, in their small corner, to set a limit to this careless procreation. They are literary Malthusians. The ideal world would be that in which there should be at least one lover for each woman. In the higher life of books the ideal is similar. No book should be brought into the world which is not sure of love and lodging on some comfortable shelf. If writers and publishers only gave a thought to what they are doing when they generate such large families of books, careless as the salmon with its million young, we should have no such sad alms-houses of learning as Booksellers' Row, no such melancholy distress-sales of noble authors as remainder auctions. A good book is beyond price; and it is far easier to under than over sell it. The words of the modern minor poet are as rubies, and what if his sets bring a hundred guineas?—it is more as it should be, than that any sacrilegious hand should fumble them for threepence. It recalls that golden age of which Mr. Dobson has sung, when—

'... a book was still a Book, Where a wistful man might look, Finding something through the whole Beating—like a human soul';

days when for one small gilded manuscript men would willingly exchange broad manors, with pasture—lands, chases, and blowing woodlands; days when kings would send anxious embassies across the sea, burdened with rich gifts to abbot and prior, if haply gold might purchase a single poet's book.

But, says the scoffer, these limited editions and so forth foster the vile passions of competition. Well, and if they do? Is it not meet that men should strive together for such possessions? We compete for the allotments of shares in American-meat companies, we outbid each other for tickets 'to view the Royal procession,' we buffet at the gate of the football field, and enter into many another of the ignoble rivalries of peace; and are not books worth a scrimmage?—books that are all those wonderful things so poetically set forth in a preceding paragraph! Lightly earned, lightly spurned, is the sense, if not the exact phrasing, of an old proverb. There is no telling how we should value many of our possessions if they were more arduously come by: our relatives, our husbands and wives, our presentation poetry from the unpoetical, our invitation-cards to one-man shows in Bond Street, the auto-photographs of great actors, the flatteries of the unimportant, the attentions of the embarrassing: how might we not value all such treasures, if they were, so to say, restricted to a limited issue, and guaranteed 'not to be reprinted'—'plates destroyed and type distributed.'

Indeed, all nature is on the side of limited editions. Make a thing cheap, she cries from every spring hedgerow, and no one values it. When do we find the hawthorn, with its breath sweet as a milch-cow's; or the wild rose, with its exquisite attar and its petals of hollowed pearl—when do we find these decking the tables of the great? or the purple bilberry, or the boot-bright blackberry in the entremets thereof? Think what that 'common dog-rose' would bring in a limited edition! And new milk from the cow, or water from the well! Where would champagne be if those intoxicants were restricted by expensive licence, and sold in gilded bottles? What would you not pay for a ticket to see the moon rise, if nature had not improvidently made it a free entertainment; and who could afford to buy a seat at Covent Garden if Sir Augustus Harris should suddenly become sole impresario of the nightingale?

Yes, 'from scarped cliff and quarried stone,' Nature cries, 'Limit the Edition! Distribute the type!'—though in her capacity as the great publisher she has been all too prodigal of her issues, and ruinously guilty of innumerable remainders. In fact, it is by her warning rather than by her example that we must be guided in this matter. Let us not vulgarise our books, as she has done her stars and flowers. Let us, if need be, make our editions smaller and smaller, our prices increasingly 'prohibitive,' rather than that we should forget the wonder and beauty of printed dream and thought, and treat our books as somewhat less valuable than wayside weeds.



A PLEA FOR THE OLD PLAYGOER

He's a nuisance, of course. But to see only that side of him is to think, as the shepherd boy piped, 'as though' you will 'never grow old.' Does he never appeal to you with any more human significance, a significance tearful and uncomfortably symbolic? Or are you so entirely that tailor's fraction of manhood, the fin de siecle type, that your ninth part does not include a heart and the lachrymal gland?

You suspect him at once as you squeeze past his legs to your stall, for he cannot quite conceal the hissing twinge of gout; and you are hardly seated ere you are quite sure that a long night of living for others is before you.

'You hardly would think it, perhaps,' he begins, 'but I saw Charles Young play the part—yes, in 1824.'

If you are young and innocent, you think—'What an interesting old gentleman!' and you have vague ideas of pumping him for reminiscences to turn into copy. Poor boy, you soon find that there is no need of pumping on your part. He is entirely self-acting, and the wells of his autobiography are as deep as the foundations of the world.

If you are more experienced, you make a quick frantic effort to escape; you try to nip the bud of his talk with a frosty 'Indeed!' and edge away, calling upon your programme to cover you. You never so much as turn the sixteenth part of an eye in his direction, for even as the oyster-man, should the poor mollusc heave the faintest sigh, is inside with his knife in the twinkling of a star; even as a beetle has but to think of moving its tiniest leg for the bird to swoop upon him,—even so will the least muscular interest in your neighbour give you bound hand and foot into his power.

But really and truly escape is hopeless. You are beyond the reach of any salvage agency whatsoever. Better make up your mind to be absolutely rude or absolutely kind: and the man who can find in his heart to be the former must have meeting eyebrows, and will sooner or later be found canonised in wax at Madame Tussaud's. To be the latter, however, is by no means easy. It is one of the most poignant forms of self-sacrifice attained by the race. In that, at least, you have some wintry consolation; and the imaginative vignette of yourself wearing the martyr's crown is a pretty piece of sacred art.

If you wished to make a bag of old playgoers, or meditated a sort of Bartholomew's Eve, a revival of Hamlet would, of course, be the occasion you would select for your purpose: for the old playgoer, so to speak, collects Hamlets. At a first night of Hamlet every sixth stall-holder is a Dr. Doran up to date, his mind a portfolio of old prints.

That is why a perambulation of the stalls is as perilous as to pick one's way through hot ploughshares. You can hardly hope always to pass through unscathed. You are as sure some night to find yourself seated beside him, as you will some day be called to serve on the jury. And then—

'O limed soul, that, struggling to be free, Art more engaged!'

However, 'sudden the worst turns best to the brave,' and 'there is much music' in this old fellow if only you have the humanity to listen.

To begin with, he has probably a distinguished face, with a bunch of vigorous curly hair, white as hawthorn. He has a manner, too. Suppose you try and enter into his soul for a moment. It does us good to get outside ourselves for a while, and this old man's soul is a palace of memory. Those lines that, may be, have been familiar to you for sixteen years, have been familiar to him for sixty. That is why he knows them off so well, why he repeats them under his breath—Look at his face!—like a Methodist praying, anticipating the actor in all the fine speeches. Do look at his face! How it shines, as the golden passages come treading along. How his head moves in an ecstasy of remembrance, in which there is a whole world of tears. How he half turns to you with a wistful appeal to feel what he is feeling: an appeal that might kindle a clod. It is the old wine laughing to itself within the old bottle.

And, one thing you will notice, it is the poetry that moves him: the great metaphor, the sonorous cadence, the honeysuckle fancy. He belongs to an age that had an instinct for beauty, and loved style—an age that, in the words of a modern wit, had not grown all nose with intellect, an age that went to the theatre to dream, not to dissect.

For you there may be here and there a flower of remembrance stuck within the leaves of the play, but for him it is stained through with the sweets of sixty springs. His youth lies buried within it like a thousand violets.

Practically he is Death at the play. To you there is but one ghost in Hamlet, to him there are fifty, and they all dance like shadows behind 'the new Hamlet,' and even sit about the stalls.

If your love be with you, forbear to press her hand in the love-scenes, or, at least, don't let the old man see you: because he used to punctuate those very passages he is muttering in just the same way—sixty years ago, when she whose angel face he will kiss no more, unless it be in the heavenly fields, sat like a flower at his side. Poor old fellow, can you be selfish to him? Can you say, 'These tedious old fools!' Fool thyself, this night shall thy youth be required of thee.

You might think of this next time you drop across the old playgoer. It was natural in Hamlet to swear at Polonius—who, you will remember, was an old playgoer himself—but, being a gentleman, it was natural in him, too, to recall the first player with, 'Follow that lord; but look you mock him not!'



THE MEASURE OF A MAN

I sometimes grow melancholy with the thought that, though I wear trousers and shave once a day, I am not, properly speaking, a Man. Surely it is from no failure of goodwill, no lack of prayerful striving towards that noble estate: for if there is one spectacle in this moving phantasmagoria of life that I love to carry within my eye, it is the figure of a true man. The mere idea of a true man stirs one's heart like a trumpet. Therefore, this doubt I am confiding is all the more dreary. Naturally, I feel it most keenly in the company of my fellows, each one of whom seems to carry the victorious badge of manhood, as though to cry shame upon me. They make me shrink into myself, make me feel that I am but an impostor in their midst. Indeed, in that sensitiveness of mine you have the starting-point of my unmanliness. Look at that noble fellow there. He is six-foot odd in his stockings, straight, stalwart, and confident. His face is broad and strong, his close-cropped head is firm and proud on his shoulders—firm and proud as a young bull's. It is a head made, indeed, rather to butt than to think with; it is visited with no effeminacy of thought or dream. It has another striking quality: it is hardly distinguishable from any other head in the room—for I am in an assemblage of true men all, a glorious herd of young John Bulls. All have the same strong jaws, the same powerful low foreheads. Noble fellows! Any one of them could send me to eternity with the wind of his fist.

And, most of all, is their manhood brought home to me, with a sickening sense of inferiority, in their voices. What a leonine authority in the roar of their opinions! Their words strike the air firm as the tread of lions. They are not teased with fine distinctions, possibilities of misconception, or the perils of afterthought. Their talk is of the absolute, their opinions wear the primary colours, and dream not of 'art shades.' Never have they been wrong in their lives, never shall they be wrong in the time to come. Never have they been known to conjecture that another may, after all, be wiser than they, handsomer, stronger, or more fortunate. They would kill a man rather than admit a mistake. Noble fellows! And I? Do you wonder that I blush in my corner as I gaze upon them, strive to smooth my hair into the appearance of a manly flatness, strive to set my face hard and feign it knowing, strive to elevate my voice to the dogmatic note, strive to cast out from my mind all those evil spirits of proportion?

Can it be possible that any one of my readers has ever been in a like case? Is there hope for us, my brother? You have, I perceive, a fine, expressive, sensitive countenance. That is, indeed, against you in this race for manhood. It is true that Apollo passed for a man—but that was long ago, and not in Britain. You have a pleasant, sympathetic voice. An excellent thing in woman. But you, my friend,—break it, I beseech you. Coarsen it with raw spirits and rawer opinions; and set that face of thine with hog's bristles, plant a shoe-brush on thy upper lip, and send thy head to the turner of billiard balls. Else come not nigh me, for, 'fore Heaven, I love a man!

Sometimes, however, I am inclined to a more comfortable consideration of this great question—for it is one of my weaknesses to be positive on few matters. But to-day I taunted my soul with its unmanliness till it rose in rebellion against me. 'Poor-spirited creature,' I said, 'where is thy valour? When a fool has struck thee I have seen thee pass on without a word, not so much as a momentary knitting of thy fist When ignorance has waxed proud, and put thee to the mock, thou hast sat meek, and uttered never a word. It must needs be thou art pigeon-livered and lack gall! There is not in thee the swagger, the rustle, the braggadocio of a true swashbuckler manhood. Out on thee!'

And my soul took the blows in patience.

'Hast thou any courage hid in any crevice of thee?' I continued my taunt. And suddenly my soul answered with a firm quiet voice: 'Try me!'

Then said I, 'Coward as thou art, fearful of thy precious skin, darest thou strike a blow for the weak against his oppressor, darest thou meet the strong tyrant in the way?'

And thereon I was startled, for my soul suddenly sprang up within me, and, lo! it neighed like a war-horse for the battle.

'Ah!' I continued, 'but couldst thou fight against the enemy of thy land? Surely thy valour would melt at the clash of swords and the voice of the drum?'

And the answer of my soul was like the march of armed men.

Then said I softly, for I was touched by this unwonted valour of my soul, 'Soul! wouldst thou die for thy friend?'

And the voice of my soul came sweet as the sound of bells at evening. It seemed, indeed, as though it could dream of naught sweeter than to die for one's friend.

This colloquy of inner and outer set me further reflecting. Can it be that this manhood is, after all, rather a quality of the spirit than of the body; that it is to be sought rather in the stout heart than in the strong arm; that big words and ready blows may, like a display of bunting, betoken no true loyalty, and be but the gaudy sign to a sorry inn? Dr. Watts, it may be remembered, declared the mind to be the standard of the man. As he was the author of a book on 'The Human Mind,' envious persons may meanly conceive that his statement was but a subtly-disguised advertisement of his literary wares.

'Were I so tall to reach the Pole, Or grasp the ocean in my span, I must be measured by my soul: The mind's the standard of the man.'

The fact of Dr. Watts being also a man of low stature does not affect the truth or untruth of this fine verse, which may serve to comfort many. One may assume that it was Jack, and not the giant, whom we would need to describe as the true man of the two; and one seems to have heard of some 'fine,' 'manly' fellows, darlings of the football field and the American bar, whose actions somehow have not altogether justified those epithets, or, at any rate, certain readings of them. Theirs is a manhood, one fancies, that is given to shine more at race-meetings and in hotel parlours than at home—revealed to the barmaid, and strangely hidden from the wife, who, indeed, has less opportunities for perceiving it.

This kind of manhood is, perhaps, rather a fashion than a personal quality: a way of carrying the stick, of wearing, or not wearing, the hair; it resides in the twirl of the moustache, or the cut of the trouser; you must seek it in the quality of the boot and the shape of the hat rather than in the actions of the wearer.

Take that matter of the hair. When next the street-boy sorrowfully exclaims on your passing that 'it's no wonder the barbers all 'list for soldiers,' or some puny idiot at your club—a lilliputian model of popular 'manhood'—sniggers to his friend behind his coffee as you come in: call to mind pictures of certain brave 'tailed men' of old, at the winking of whose eyelid your tiny club 'man' would have expired on the instant. Threaten him with a Viking. Show him in a vision a band of blue-eyed pirates, with their wild hair flying in the breeze, as they sternly hasten across the Northern Sea. Summon Godiva's lord, 'his beard a yard before him, and his hair a yard behind.' Call up the brave picture of Rupert's love-locked Cavaliers, as their glittering column hurls like a bolt of heaven to the charge, or Nelson's pig-tailed sailors in Trafalgar's Bay. But, before you have gone half-way through your panorama, that club-mannikin will have hastily departed, leaving his coffee half-drunk, and you shall find him airing his manhood in the security of the billiard-room.

Yes, for us who are denied the admiration of the billiard-marker; denied the devotion of the barmaid (with charming paradox so-called); for us who make poor braggarts, and often prefer to surrender rather than to elbow for our rights; for us who deliver our opinions with mean-spirited diffidence, and are men of quiet voices and ways: for us there is hope. It may be that to love one's neighbour is also a part of manhood, to suffer quietly for another as true a piece of bravery as to fell him for a careless word; it may be that purity, constancy, and reverence are as sure criteria of manhood as their opposites. It may be, I say; but be certain that a strong beard, a harsh voice, and a bull-dog physiognomy are surer still.



THE BLESSEDNESS OF WOMAN

Have you ever remarked as a curious thing that, whereas every day we hear women sighing because they have not been born men, you never hear a sigh blowing in the other direction? I only know one man who had the courage to say that he would not mind exchanging into the female infantry, and it may have been affectation on his part. At any rate, he blushed deeply at the avowal, and his friends look askance at him ever since. Of course, the obvious answer of the self-satisfied male is that he is the lord of creation, that his is the better part which shall not be taken from him. Yet this does not prevent his telling his wife sometimes, when oppressed with the cares of this world and the deceitfulness of riches, that 'it is nice to be her. Nothing to worry her all day long. No responsibility.' For in his primitive vision of female existence, his wife languidly presides for ever at an eternal five-o'clock tea. And it is not in the province of this article to turn to him the seamy side of that charming picture. Rather is it our mission to convince him of the substantial truth of his intuition. He is quite right. It is 'nice to be her.' And if men had a little more common-sense in their consequential skulls, instead of striving to resist the woman's invasion of their immemorial responsibilities and worries, they would joyfully abdicate them—and skip home to Nirvana and afternoon tea.

Foolish women! To want of your own free will to put yourselves in painful harness; to take the bit of servitude between your rose-leaf lips; to fight day-long in the reeking arena of bacon merchants; to settle accounts instead of merely incurring them; to be confined in Stygian city-blocks instead of silken bedchambers; to rise with the sparrow and leave by the early morning train. What fatuity! Some day, when woman has had her way and man has ceased to have his will, she will see of the travail of her soul and be bitterly dissatisfied; for, unless man is a greater fool than he looks, she shall demand back her petticoats in vain.

For what is the lot of woman? The first superficial fact about a woman is, of course, her beauty. Secondly, as the leaves about a rose, comes her dress. To be beautiful and to wear pretty things—these are two of the obvious privileges of woman. To be a living rose, with bosom of gold and petals of lace, a rose each passer-by longs to pluck from its husband-stem, but dare not for fear of the husband-thorns. To be privileged to play Narcissus all day long with your mirror, to love yourself so much that you kiss the cold reflection, yet fear not to drown. To reveal yourself to yourself in a thousand lovely poses, and bird-like poises of the head. To kneel to yourself in adoration, to laugh and nod and beckon to yourself with your own smiles and dimples, to yearn in hopeless passion for your own loveliness. To finger silken garments, linings to the casket of your beauty, never seen of men, to draw on stiff embroidered gowns, to deck your hands with glittering jewels, and your wrists with bands of gold—and then to sail forth from your boudoir like the moon from a cloud, regally confident of public worship; to be at once poet and poem, painter and painted: does not this belong to the lot of woman?

But it was of nobler privileges than these that the candidate for womanhood of whom I have spoken was thinking. It is fit that we skim the surface before we dive into the deeps—especially so attractive a surface as woman's. He was, doubtless, thinking less of woman as a home comfort or a beauty, and much more of her as she once used to be among our far-off sires, Sibyl and Priestess. Is it but an insular fancy to suppose that Englishmen, beyond any other race, still retain the most living faith in the sanctity of womanhood? and, if so, can it be doubted that it is an inheritance from those wild child-hearted Vikings, who were first among the peoples of Europe to conceive woman as the chosen vessel of the divine? And how wittily true, by the way, how slily significant, was both the Norse and the Greek conception of the ruling destinies of man, the Norns and the Fates, as women!

To speak with authority, one should, doubtless, first sprout petticoats; and, meanwhile, one must rest content with asking the intelligent women of our acquaintance—whether man inspires them with anything like the feelings of reverential adoration, the sense of a being holy and supernal, with which woman undoubtedly inspires man. He is, of course, their god, but a god of the Greek pattern, with no little of the familiarising alloy of earth in his composition. He is strong, and swift, and splendid—but seems he holy? Is he angel as well as god? Does the dream of him rise silvery in the imagination of woman? Is he a star to lift her up to heaven with pure importunate beam? I seem to hear the nightingale-laughter of women for answer. Man neither is, nor would they have him, any of these things.

But though some men, by a fortunate admixture of woman silver in their masculine clay, may be even these, there is one sacred thing no man can ever be, a privilege by which nature would seem to have put beyond doubt the divinity of woman: a mother. It is true that it is within his reach to be a father; but what is 'paternity' compared with motherhood? The very word wears a droll face, as though accustomed to banter. Let us venture on the bull: that, though it be possible for most men to be fathers, no man can ever be a mother. Maybe a recondite intention of the dogma of the Immaculate Conception was the accentuation of the fact that man's share in the sacred mystery of birth is so small and woman's so great, that the birth of a child is truly a mysterious traffic between divine powers of nature and her miraculous womb—mystic visitations of radiant forces hidden eternally from the knowledge of man.

We stand in wonder before the magical germinating properties of a clod of earth. A grass-seed and a thimbleful of soil set all the sciences at nought. But if such is the wonder of the mere spectator, how strange to be the very vessel of the mystery, to know it moving through its mystic stations within our very bodies, to feel the tender shoots of the young life striking out blade after blade, already living and wonderful, though as yet unsuspected of other eyes; to know the underground inarticulate spring, sweeter far than spring of bird and blossom, while as yet all seems barren winter in the upper air; to hear already the pathetic pleadings of the young life, and to send back soothing answer along the hidden channels of tender tremulous affinities; to lie still in the night and see through the darkness the little white soul shining softly in its birth-sleep, slowly filling with life as a moon with silver—it was a woman and not a man that God chose for this blessedness.



VIRAGOES OF THE BRAIN

The strength of the old-fashioned virago was in her muscles. That of the newfangled modern development is in her 'reason'—a very different thing indeed from 'woman's reasons.' As the former knocked you down with her fist, the latter fells you with her brain. In her has definitely commenced that evolutionary process which, according to the enchanting dream of a recent scientist, is to make the 'homo' a creature whose legs are of no account, poor shrivelled vestiges of once noble calves and thighs; and whose entire significance will be a noseless, hairless head, in shape and size like an idiot's, which the scientist, gloating over the ugly duckling of his distorted imagination, describes as a 'beautiful, glittering, hairless dome!' A sad period one fears for Gaiety burlesque. In that day a beautifully shaped leg and a fine head of hair will be rather a disgrace than a distinction. They will be survivals of a barbarous age. Indeed that they are already so regarded, there can be no doubt, by the more 'advanced' representatives of the female sex.

There is one radical difference between the old and the new virago: the old gloried in the fact that she was a woman, because thus her sex triumphed over that male whom she despised, like her modern sister, in proportion as she resembled him. The new virago, however, hates above all things to be reminded of her womanhood, which she is constantly engaged in repressing with Chinese ferocity. Not, as we have hinted, that she thinks any better of man. Though she dresses as like him as possible, she is very angry if you suggest that she at all envies him his birthright. And the humour of the situation, the hopeless dilemma in which she thus places herself—if it be right to apply the feminine gender!—never occurs to one whose sense of humour has long been atrophied, perhaps at Girton, or by a course of sterilising Extension lectures.

Obviously, there is but one course open for the advanced 'woman' in this dilemma—to evolve a third sex, and this she is doing her best to achieve, with, I am bound to admit, remarkably speedy success. The result up to date is the Virago of the Brain, or the Female Frankenstein. The patentees of this fearsome tertium quid hope to present it to their patrons, within a very few years, in a form entirely devoid of certain physiological defects, with which the cussedness of human structure still uselessly burdens the Virago. As it is, of course, it is by no means uncommon for the virago to be born without that sentimental organ, the heart; and it can, therefore, only be a matter of time before she is rid of what the present writer has been criticised for calling 'her miraculous womb.' Doubtless, the patentees will then turn their attention to Sir Thomas Browne's suggested method for the propagation of the race after the reasonable, civilised, and advanced manner of trees.

But I am warned that I commit impropriety even in naming such matters. They are 'sacred,'—which means that we ought to be ashamed to mention them, however reverent our intention. Motherhood, it would appear, is not, as one had regarded it, a sanctifying privilege, but a shameful disability, of which not the Immaculate Conception, but the ignoble service for the 'purification' of women, is the significant symbol. It behoves not only the unmarried, but the married mothers, so to speak, to wear farthingales upon the subject, and pretend, with as grave a face as possible, that babies are really found under cabbages, or sent parcel post, on application, by her Majesty the Queen.

How long are we to retain the pernicious fallacy that sacredness is a quality inhering not in the sacred object itself, but in the superstitious 'decencies' that swaddle it, or that we best reverence such sacred object by a prurient prudish conspiracy of silence concerning it?

Then there is, it would also appear, a particular indignity, from the new virago's point of view, in the assumption that a woman's beauty is one of her great missions, or the supposition that she takes any such pride in it herself as man has from time immemorial supposed. No sensible woman, we have been indignantly assured, ever plays at Narcissus with her mirror. That all women find such pleasure in their reflections no one would think of saying. How could they, poor things? One is quite ready to admit that probably our virago looks in her glass as seldom as possible. But all sensible women that are beautiful as well should take joy in their own charms, if they have any feelings of gratitude towards the supernal powers which might have made them—well, more advanced than beautiful, and given them a head full of cheap philosophy instead of a transfiguring head of hair.

No one wants a woman to be silly and vain about her beauty. But vanity and conceit are qualities that exist in people quite independently of their gifts and graces. The ugly and stupid are perhaps more often conceited than the beautiful or the clever,—vain, it would appear, of their very ugliness and stupidity. Besides, is it any worse for a woman to be vain of her looks than of her brains?—and the advanced woman is without doubt most inordinately vain of those. Of the two, so far as they are at present developed, is there any doubt that the woman with beauty is better off than the woman with brains? In some few hundred years, maybe, the brain of woman will be a joy to herself and the world: when she has got more used to its possession, and familiar with the fruitful control of it. At present, however, it is merely a discomfort, not to say a danger, to herself and every one else—a tiresome engine for the pedantic assimilation of German and the higher mathematics. And it may well happen—horrid prophecy—that when that brain of woman has come to its perfection, the flower of its meditation will be to realise the significance, the sacredness, of the Simple Woman. It is in its apprehension of the mystery of simplicity that the brain of man, at present, is superior to that of woman.

Young brain delights in the complex, old in the simple. Woman's love of the complex has been illustrated abundantly during the last few years, in her enthusiasm for certain great imperfect writers, who have been able to stir up the mud in the fountain of life (doubtless, to medicinal ends) but unable to bring it clear again. An eternal enigma herself, woman is eternally in love with enigmas. Like a child, she loves any one who will show her the 'works' of existence, and she is still in that inquisitive stage when one imagines that the inside of a doll will afford explanation of its fascinating exterior. It is no use telling her that analysis can never explain the mystery of synthesis. Like an American humourist, she still goes on wanting 't'know.'

Even more than man, she exaggerates the value of the articulate, the organised. She has always been in love with 'accomplishments,' and she loves natures that are minted into current coin of ready gifts and graces. She cares more for the names of things than for the things themselves. Of things without names she is impatient. Talkative as she is said to be, and in so many modern languages, she knows not yet how to talk with Silence—unless she be the inspired Simple Woman—for to talk with Silence is to apprehend the mystic meanings of simplicity. For this reason, mystics are more often found among men than women—a fact on which the Pioneer Club is at liberty to congratulate itself. What advanced woman understands that saying of Paracelsus: 'who tastes a crust of bread tastes the heavens and all the stars.' Else would she understand also that the 'humblest' ministrations of life, those nearest to nature, are the profoundest in their significance: that it means as much to bake a loaf as to write a book, and that to watch over the sleep of a child is a liberal education—nay, an initiation granted only to mothers and those meek to whom mysteries are revealed. It has always been to the simple woman that the angel has appeared—to Mary of Bethany, to Joan of Arc. Is it impious to infer that the Angel Gabriel himself dreads a blue-stocking? What chance indeed would he have with our modern viragoes of the brain, the mighty daughters of the pen?



THE EYE OF THE BEHOLDER

Other people's poetry—I don't mean their published verse, but their absurdly romantic view of unromantic objects—is terribly hard to translate. It seldom escapes being turned into prose. It must have happened to you now and again to have had the photograph of your friend's beloved produced for your inspection and opinion. It is a terrible moment. If she does happen to be a really pretty girl—heavens! what a relief. You praise her with almost hysterical gratitude. But if, as is far more likely, her beauty proves to be of that kind which exists only in the eyes of a single beholder, what a plight is yours! How you strive to look as if she were a new Helen, and how hopelessly unconvincing is your weary expression—as unconvincing as one's expression when, having weakly pretended acquaintance with a strange author, we feign ecstatic recognition of some passage or episode quoted by his ruthless admirer. There is this hope in the case of the photograph: that its amorous possessor will probably be incapable of imagining any one insensitive to such a Golconda of charms, and you have always in your power the revenge of showing him your own sacred graven image.

Is it not curious that the very follies we delight in for ourselves should seem so stupid, so absolutely vulgar, when practised by others? The last illusion to forsake a man is the absolute belief in his own refinement.

A test experience in other people's poetry is to sit in the pit of a theatre and watch 'Arry and 'Arriet making love and eating oranges simultaneously. 'Arry has a low forehead, close, black, oily hair, his eyes and nose are small, and his face is freckled. His clothes are painfully his best, he wears an irrelevant flower, and his tie has escaped from the stud and got high into his neck, eclipsing his collar. 'Arriet has thick unexpressive features, relying rather on the expressiveness of her flaunting hat, she wears a straight fringe low down on her forehead, and endeavours to disguise her heavy ennui by an immovable simper. This pair loll one upon each other. Whether lights be high or low they hold each other's hands, hands hard and coarse with labour, with nails bitten down close to the quick. But, for all that, they, in their strange uncouth fashion, would seem to be loving each other. 'Not we alone have passions hymeneal,' sings an aristocratic poet. They smile at each other, an obvious animal smile, and you perhaps shudder. Or you study them for a realistic novel, or you call up that touch of nature our great poet talks of. But somehow you cannot forget how their lips will stick and smell of oranges when they kiss each other on the way home. What is the truth about this pair? Is it in the unlovely details on which, maybe, we have too much insisted—or behind these are we to imagine their souls radiant in celestial nuptials?

Mr. Chevalier may be said to answer the question in his pictures of coster love-making. But are those pictures to be taken as documents, or are they not the product of Mr. Chevalier's idealistic temperament? Does the coster actually worship his 'dona' with so fine a chivalry? Is he so sentimentally devoted to his 'old Dutch'? If you answer the question in the negative, you are in this predicament: all the love and 'the fine feelings' remain with the infinitesimal residuum of the cultured and professionally 'refined.' Does that residuum actually incarnate all the love, devotion, honour, and other noble qualities in man? One need hardly trouble to answer the absurd question. Evidently behind the oranges, and the uncouth animal manners, we should find souls much like our own refined essences, had we the seeing sympathetic eye. All depends on the eye of the beholder.

Among the majority of literary and artistic people of late that eye of the beholder has been a very cynical supercilious eye. Never was such a bitter cruel war waged against the poor bourgeois. The lack of humanity in recent art and literature is infinitely depressing. Doubtless, it is the outcome of a so-called 'realism,' which dares to pretend that the truth about life is to be found on its grimy pock-marked surface. Over against the many robust developments of democracy, and doubtless inspired by them, is a marked spread of the aristocratic spirit—selfish, heartless, subtle, of mere physical 'refinement'; a spirit, too, all the more inhuman because it is for the most part not tempered by any intercourse with homely dependants, as in the feudal aristocracy. It would seem to be the product of 'the higher education,' a university priggishness, poor as proud. It is the deadliest spirit abroad; but, of course, though it may poison life and especially art for a while, the great laughing democracy will in good time dispose of it as Hercules might crush a wasp.

This is the spirit that draws up its skirts and sneers to itself at poor 'old bodies' in omnibuses, because, forsooth, they are stout, and out of the fulness of the heart the mouth speaketh. One thinks of Falstaff's plaintive 'If to be fat is to be hated!' At displays of natural feelings of any sort this comfortless evil spirit ever curls the lip. Inhabiting modern young ladies, it is especially superior to the maternal instinct, and cringes from a baby in a railway carriage as from an adder. At the dropping of an 'h' it shrinks as though the weighty letter had fallen upon its great toe, and it will forgive anything rather than a provincial accent. It lives entirely in the surfaces of things, and, as the surface of life is frequently rough and prickly, it is frequently uncomfortable. At such times it peevishly darts out its little sting, like a young snake angry with a farmer's boot. It is amusing to watch it venting its spleen in papers the bourgeois never read, in pictures they don't trouble to understand. John Bull's indifference to the 'new' criticism is one of the most pleasing features of the time. Probably he has not yet heard a syllable of it, and, if he should hear, he would probably waive it aside with, 'I have something more to think of than these megrims.' And so he has. While these superior folk are wrangling about Degas and Mallarme, about 'style' and 'distinction,' he is doing the work of the world. There is nothing in life so much exaggerated as the importance of art. If it were all wiped off the surface of the earth to-morrow, the world would scarcely miss it. For what is art but a faint reflection of the beauty already sown broadcast over the face of the world? And that would remain. We should lose Leonardo and Titian, Velasquez and Rembrandt, and a great host of modern precious persons, but the stars and the great trees, the noble sculptured hills, the golden-dotted meadows, the airy sailing clouds, and all the regal pageantry of the seasons, would still be ours; and an almond-tree in flower would replace the National Gallery.

Yes, surely the true way of contemplating these undistinguished masses of humanity, this 'h'-dropping, garlic-eating, child-begetting bourgeois, is Shakespeare's, Dickens', Whitman's way—through the eye of a gentle sympathetic beholder—one who understands Nature's trick of hiding her most precious things beneath rough husks and in rank and bearded envelopes—and not through the eye-glass of the new critic.

For these undistinguished people are, after all, alive as their critics are not. They are, indeed, the only people who may properly be said to be alive, dreaming and building while the superior person stands by cogitating sarcasms on their swink'd and dusty appearances. More of the true spirit of romantic existence goes to the opening of a little grocer's shop in a back street in Whitechapel than to all the fine marriages at St. George's, Hanover Square, in a year. But, of course, all depends on the eye of the beholder.



TRANSFERABLE LIVES

I sometimes have a fancy to speculate how, supposing the matter still undecided, I would like to spend my life. Often I feel how good it would be to give it in service to one of my six dear friends: just to offer it to them as so much capital, for whatever it may be worth. In pondering the fancy, I need hardly say that I do not assess myself at any extravagant value. I but venture to think that the devotion of one human creature, however humble, throughout a lifetime, is not a despicable offering. To use me as they would, to fetch and carry with me, to draw on me for whatever force resides in me, as they would on a bank account, to the last penny, to use my brains for their plans, my heart for their love, my blood for added length of days: and thus be so much the more true in their love, the more prosperous in their business, the more buoyant in their health—by the addition of me.

But then embarrassment comes upon me. Which of my friends do I love the most? To whose account of the six would I fain be credited? Then again I think of the ten thousand virgins who go mateless about the world, sweet women, with hearts like hidden treasure, awaiting the 'Prince's kiss' that never comes; virgin mothers, whose bosoms shall never know the light warm touch of baby-hands:

'Pale primroses That die unmarried, ere they can behold Bright Phoebus in his strength.'

How often one sees such a one in train or omnibus, her eyes, may be, spilling the precious spikenard of their maternal love on some happier woman's child. I noticed one of them withering on the stalk on my way to town this morning. She was, I surmised, nearly twenty-eight, she carried a roll of music, and I had a strong impression that she was the sole support of an invalid mother. I could hardly resist suggesting to one of my men companions what a good wife she was longing to make, what a Sleeping Beauty she was, waiting for the marital kiss that would set all the sweet bells of her nature a-chime. I had the greatest difficulty in preventing myself from leaning over to her, and putting it to her in this way—

'Excuse me, madam, but I love you. Will you be my wife? I am just turning thirty. I have so much a year, a comfortable little home, and probably another thirty years of life to spend. Will you not go shares with me?'

And my imagination went on making pictures: how her eyes would suddenly brighten up like the northern aurora, how a strange bloom would settle on her somewhat weary face, and a dimple steal into her chin; how, when she reached home and sat down to read Jane Austen to her mother, her mother would suddenly imagine roses in the room, and she would blushingly answer, 'Nay, mother—it is my cheeks!'; and presently the mother would ask, 'Where is that smell of violets coming from?' and again she would answer, 'Nay, mother—it is my thoughts!'; and yet again the mother would say, 'Hush! listen to that wonderful bird singing yonder!' and she would answer, 'Nay, mother dear—it is only my heart!'

But, alas! she alighted at Charing Cross, and not one of us in the compartment had asked her to be his wife.

The weary clerk, the sweated shopman, the jaded engineer—how good it would be to say to any of them, 'Here, let us change places awhile. Here is my latch-key, my cheque-book, my joy and my leisure. Use them as long as you will. Quick, let us change clothes, and let me take my share of the world's dreariness and pain'!

Or to stop the old man of sixty, as he hobbles down the hill, with never a thought of youth or spring in his heart, not a hope in his pocket, and his faith long since run dry—to stop him and say: 'See, here are thirty years; I have no use for them. Will you not take them? If you are quick, you may yet catch up Phyllis by the stile. She has a wonderful rose in her hand. She will sell it you for these thirty years; and she knows a field where a lark is singing as though it were in heaven!'

To take the old lady from the bath-chair, and let her run with her daughter to gather buttercups, or make eyes at the church gallants. Oh, this were better far than living to one's-self, if we were only selfish enough to see it!

But, best of all were it to go to the churchyard, where the dead have long since given up all hopes of resurrection, and find some new grave, whose inhabitant was not yet so fast asleep but that he might be awakened by a kind word. To go to Alice's grave and call, 'Alice! Alice!' and then whisper: 'The spring is here! Didn't you hear the birds calling you? I have come to tell you it is time to get ready. In two hours the church-bells will be ringing, and Edward will be waiting for you at the altar. The organist is already trying over the 'Wedding March,' and the bridesmaids have had their dresses on and off twice. They can talk of nothing but orange-blossom and rice. Alice, dear, awaken. Ah, did you have strange dreams, poor girl—dream that you were dead! Indeed, it was a dream—an evil dream.'

And, then, as Alice stepped bewildered homewards, to steal down into her place, and listen, and listen, till the sound of carriages rolled towards the gate, listen till the low hush of the marriage service broke into the wild happy laughter of the organ, and the babbling sound of sweet girls stole through the church porch; then to lie back and to think that Alice and Edward had been married after all—that your little useless life had been so much use, at least: just to dream of that awhile, and then softly fall asleep.

Ah, who would not give all his remaining days to ransom his beloved dead?—to give them the joys they missed, the hopes they clutched at, the dreams they dreamed? O river that runs so sweetly by their feet, when you shall have stopped running will they rise? O sun that shines above their heads, when you have ceased from shining will they come to us again? When the lark shall have done with singing, and the hawthorn bud no more, shall we then, indeed, hear the voices of our beloved, sweeter than song of river or bird?



THE APPARITION OF YOUTH

Sententious people are fond of telling us that we change entirely every seven years, that in that time every single atomy of body (and soul?) finds a substitute. Personally, I am of opinion that we change oftener, that rather we are triennial in our constitution. In fact, it is a change we owe to our spiritual cleanliness. But there is a truth pertaining to the change of which the sententious people are not, I think, aware. When they speak of our sloughing our dead selves, they imagine the husk left behind as a dead length of hollow scale or skin. Would it were so. These sententious people, with all their information, have probably never gone through the process of which they speak. They have never changed from the beginning, but have been consistently their dull selves all through. To those, however, who can look back on many a metamorphosis, the quick-change artists of life, a fearful thing is known. The length of discarded snake lies glistering in the greenwood, motionless, and slowly perishes with the fallen leaves in autumn. But for the dead self is no autumn. By some mysterious law of spiritual propagation, it breaks away from us, a living thing, as the offspring of primitive organisms are, it is said, broken off the tail of their sole and undivided parent. It goes on living as we go on living; often, indeed, if we be poets or artists, it survives us many years; it may be a friend, but it is oftener a foe; and it is always a sad companion.

I sat one evening in my sumptuous library near Rutland Gate. I was deep in my favourite author, my bank-book, when presently an entry—as a matter of fact, a quarterly allowance to a friend (well, a woman friend) of my youth—set me thinking. Just then my man entered. A youth wished to see me. He would not give his name, but sent word that I knew him very well for all that. Being in a good humour, I consented to see him. He was a young man of about twenty, and his shabby clothes could not conceal that he was comely. He entered the room with light step and chin in air, and to my surprise he strode over to where I sat and seated himself without a word. Then he looked at me with his blue eyes, and I recognised him with a start 'What's the new book?' he asked eagerly, pointing to my open bank-book.

Bending over he looked at it: 'Pshaw! Figures. You used not to care much about them. When we were together it used to be Swinburne's Poems and Ballads, or Shakespeare's Sonnets!'

As he spoke he tugged a faded copy of the Sonnets from his pocket. It slipped from his hand. As it fell it opened, and faded violets rained from its leaves. The youth gathered them up carefully, as though they had been valuable, and replaced them.

'How do you sell your violets?' I asked, ironically. 'I'll give you a pound apiece for them!'

'A pound! Twenty pounds apiece wouldn't buy them,' he laughed, and I remembered that they were the violets Alice Sunshine and I had gathered one spring day when I was twenty. We had found them in a corner of the dingle, where I had been reading the Sonnets to her, till in our book that day we read no more. As we parted she pressed them between the leaves and kissed them. I remember, too, that I had been particular to write the day and hour against them, and I remember further how it puzzled me a couple of years after what the date could possibly mean.

Having secured his book, my visitor once more looked me straight in the face, and as he did so he seemed to grow perplexed and disappointed. As I gazed at him my contentment, too, seemed to be slowly melting away. Five minutes before I had felt the most comfortable bourgeois in the world. There seemed nothing I was in need of, but there was something about this youth that was dangerously disillusionising. Here was I already envying him his paltry violets. I was even weak enough to offer him five pounds apiece for them, but he still smilingly shook his head.

'Well!' he said presently, 'what have you been doing with yourself all these years?'

I told him of my marriage and my partnership in a big city house.

'Phew!' he said. 'Monstrous dull, isn't it? As for me, I never intend to marry. And if you don't marry, what do you want with money? You used to despise it enough once. And do you remember our favourite line: "Our loves into corpses or wives?"'

'Hush!' I said, for wives have ears.

'Is it Alice Sunshine?' he asked.

'No,' I said, 'not Alice Sunshine.'

'Maud Willow?'

'No, not Maud Willow.'

'Jenny Hopkins?'

'No, not Jenny Hopkins.'

'Lucy Rainbow?'

'No, not Lucy Rainbow.'

'Now who else was there? I cannot remember them all. Ah, I remember now. It wasn't Lilian, after all?'

'No, poor Lilian died ten years ago. I am afraid you don't know my wife. I don't think you ever met.'

'It isn't Edith Appleblossom, surely? Is it?'

'No, I ...' and then I stopped just in time! 'No, you don't know my wife, I'm sure, and if you don't mind my saying so, I think I had better not introduce you. Forgive me, but she wouldn't quite understand you, I fear....'

'Wouldn't quite approve, eh?' said he, with a merry laugh. 'Poor old chap!'

'Well, I'm better off than that,' he continued. 'Why, Doll and I love for a week, and then forget each other's names in a twelvemonth, when Poll comes along, and so on. And neither of us is any the worse, believe me. We're one as fickle as the other, so where's the harm?'

'Ah, my dear fellow, you did make a mistake,' he ran on. 'I suppose you forget Robert Louis' advice—"Times are changed with him who marries," etc.'

'He's married himself,' I replied.

'And I suppose you never drop in for a pipe at "The Three Tuns" now of an evening?'

'No! I haven't been near the place these many years.'

'Poor old fellow! The Bass is superb at present.

I recollected. 'Won't you have some wine with me?' I said. 'I have some fine old Chianti. And take a cigar?'

'No, thanks, old man. I'm too sad. Come with me to "The Three Tuns," and let's have an honest pint and an honest pipe together. I don't care about cigars. Come to-night. Let's make a night of it. We'll begin at "The Three Tuns," then call at "The Blue Posts," look in at "The Dog and Fire-irons," and finish up at "The Shakespeare's Head." What was it we used to troll?—

'From tavern to tavern Youth passes along, With an armful of girl And a heart-full of song.'

'Hush!' I cried in terror; 'it is impossible. I cannot. Come to my club instead.' But he shook his head.

I persuaded him to have some Chianti at last, but he drank it without spirit, and thus we sat far into the night talking of old days.

Before he went I made him a definite offer—he must have bewitched me, I am sure—I offered him no less than L5000 and a share in the business for the sprig of almond-blossom the ridiculous young pagan carried in his hat.

And will you believe me? He declined the offer.



THE PATHETIC FLOURISH

The dash under the signature, the unnecessary rat-tat of the visitor, the extravagant angle of the hat in bowing, the extreme unction in the voice, the business man's importance, the strut of the cock, the swagger of the bad actor, the long hair of the poet, the Salvation bonnet, the blue shirt of the Socialist: against all these, and a hundred examples of the swagger of unreflecting life, did a little brass knocker in Gray's Inn warn me the other evening. I had knocked as no one should who is not a postman, with somewhat of a flourish. I had plainly said, in its metallic reverberations, that I was somebody. As I left my friends, I felt the knocker looking at me, and when I came out into the great square, framing the heavens like an astronomical chart, the big stars repeated the lesson with thousand-fold iteration. How they seemed to nudge each other and twinkle among themselves at the poor ass down there, who actually took himself and his doings so seriously as to flourish, even on a little brass knocker.