I saw further still. I saw that after a month at home I would not want to come back to school, and that I should have to endure another period of despondency. I saw that my whole school life would be punctuated by these violent uprootings, that the alternation of term-time and holidays would make it impossible for me to change life into a comfortable habit, and that even to the end of my school-days it would be necessary for me to preserve my new-found courage.

As I lay thinking in the dark I was proud of the clarity of my mind, and glad that I had at last outwitted the tears that had made my childhood so unhappy. I heard, the boys breathing softly around me—those wonderful boys who could sleep even when they were excited—and I felt that I was getting the better of them in thinking while they slept. I remembered the prefect who had told me that we were there only for a spell, but I did not speculate as to what would follow afterwards. All that I had to do was to watch myself ceaselessly, and be able to explain to myself everything that I felt I and did. In that way I should always be strong I enough to guard my weaknesses from the eyes of the jealous world in which I moved.

The church bells chimed the hour, and I turned over and went to sleep.



On the Brighton Road

Slowly the sun had climbed up the hard white downs, till it broke with little of the mysterious ritual of dawn upon a sparkling world of snow. There had been a hard frost during the night, and the birds, who hopped about here and there with scant tolerance of life, left no trace of their passage on the silver pavements. In places the sheltered caverns of the hedges broke the monotony of the whiteness that had fallen upon the coloured earth, and overhead the sky melted from orange to deep blue, from deep blue to a blue so pale that it suggested a thin paper screen rather than illimitable space. Across the level fields there came a cold, silent wind which blew a fine dust of snow from the trees, but hardly stirred the crested hedges. Once above the skyline, the sun seemed to climb more quickly, and as it rose higher it began to give out a heat that blended with the keenness of the wind.

It may have been this strange alternation of heat and cold that disturbed the tramp in his dreams, for he struggled tor a moment with the snow that covered him, like a man who finds himself twisted uncomfortably in the bed-clothes, and then sat up with staring, questioning eyes. "Lord! I thought I was in bed," he said to himself as he took in the vacant landscape, "and all the while I was out here." He stretched his limbs, and, rising carefully to his feet, shook the snow off his body. As he did so the wind set him shivering, and he knew that his bed had been warm.

"Come, I feel pretty fit," he thought. "I suppose I am lucky to wake at all in this. Or unlucky—it isn't much of a business to come back to." He looked up and saw the downs shining against the blue, like the Alps on a picture-postcard. "That means another forty miles or so, I suppose," he continued grimly. "Lord knows what I did yesterday. Walked till I was done, and now I'm only about twelve miles from Brighton. Damn the snow, damn Brighton, damn everything!" The sun crept higher and higher, and he started walking patiently along the road with his back turned to the hills.

"Am I glad or sorry that it was only sleep that took me, glad or sorry, glad or sorry?" His thoughts seemed to arrange themselves in a metrical accompaniment to the steady thud of his footsteps, and he hardly sought an answer to his question. It was good enough to walk to.

Presently, when three milestones had loitered past, he overtook a boy who was stooping to light a cigarette. He wore no overcoat, and looked unspeakably fragile against the snow, "Are you on the road, guv'nor?" asked the boy huskily as he passed.

"I think I am," the tramp said.

"Oh! then I'll come a bit of the way with you if you don't walk too fast. It's bit lonesome walking this time of day."

The tramp nodded his head, and the boy started limping along by his side.

"I'm eighteen," he said casually. "I bet you thought I was younger."

"Fifteen, I'd have said."

"You'd have backed a loser. Eighteen last August, and I've been on the road six years. I ran away from home five times when I was a little 'un, and the police took me back each time. Very good to me, the police was. Now I haven't got a home to run away from."

"Nor have I," the tramp said calmly.

"Oh, I can see what you are," the boy panted; "you're a gentleman come down. It's harder for you than for me." The tramp glanced at the limping, feeble figure and lessened his pace.

"I haven't been at it as long as you have," he admitted.

"No, I could tell that by the way you walk. You haven't got tired yet. Perhaps you expect something at the other end?"

The tramp reflected for a moment. "I don't know," he said bitterly, "I'm always expecting things."

"You'll grow out of that;" the boy commented. "It's warmer in London, but it's harder to come by grub. There isn't much in it really."

"Still, there's the chance of meeting somebody there who will understand—"

"Country people are better," the boy interrupted. "Last night I took a lease of a barn for nothing and slept with the cows, and this morning the farmer routed me out and gave me tea and toke because I was so little. Of course, I score there; but in London, soup on the Embankment at night, and all the rest of the time coppers moving you on."

"I dropped by the roadside last night and slept where I fell. It's a wonder I didn't die," the tramp said. The boy looked at him sharply.

"How did you know you didn't?" he said.

"I don't see it," the tramp said, after a pause.

"I tell you," the boy said hoarsely, "people like us can't get away from this sort of thing if we want to. Always hungry and thirsty and dog-tired and walking all the while. And yet if anyone offers me a nice home and work my stomach feels sick. Do I look strong? I know I'm little for my age, but I've been knocking about like this for six years, and do you think I'm not dead? I was drowned bathing at Margate, and I was killed by a gypsy with a spike; he knocked my head and yet I'm walking along here now, walking to London to walk away from it again, because I can't help it. Dead! I tell you we can't get away if we want to."

The boy broke off in a fit of coughing, and the tramp paused while he recovered.

"You'd better borrow my coat for a bit, Tommy," he said, "your cough's pretty bad."

"You go to hell!" the boy said fiercely, puffing at his cigarette; "I'm all right. I was telling you about the road. You haven't got down to it yet, but you'll find out presently. We're all dead, all of us who're on it, and we're all tired, yet somehow we can't leave it. There's nice smells in the summer, dust and hay and the wind smack in your face on a hot day—and it's nice waking up in the wet grass on a fine morning. I don't know, I don't know—" he lurched forward suddenly, and the tramp caught him in his arms.

"I'm sick," the boy whispered—"sick."

The tramp looked up and down the road, but he could see no houses or any sign of help. Yet even as he supported the boy doubtfully in the middle of the road a motor car suddenly flashed in the middle distance, and came smoothly through the snow.

"What's the trouble?" said the driver quietly as he pulled up. "I'm a doctor." He looked at the boy keenly and listened to his strained breathing.

"Pneumonia," he commented. "I'll give him a lift to the infirmary, and you, too, if you like."

The tramp thought of the workhouse and shook his head "I'd rather walk," he said.

The boy winked faintly as they lifted him into the car.

"I'll meet you beyond Reigate," he murmured to the tramp. "You'll see." And the car vanished along the white road.

All the morning the tramp splashed through the thawing snow, but at midday he begged some bread at a cottage door and crept into a lonely barn to eat it. It was warm in there, and after his meal he fell asleep among the hay. It was dark when he woke, and started trudging once more through the slushy roads.

Two miles beyond Reigate a figure, a fragile figure, slipped out of the darkness to meet him.

"On the road, guv'nor?" said a husky voice. "Then I'll come a bit of the way with you if you don't walk too fast. It's a bit lonesome walking this time of day."

"But the pneumonia!" cried the tramp, aghast.

"I died at Crawley this morning," said the boy.



A Tragedy In Little

I

Jack, the postmaster's little son, stood in the bow-window of the parlour and watched his mother watering the nasturtiums in the front garden. A certain intensity of purpose was expressed by the manner in which she handled the water-pot. For though it was a fine afternoon the carrier's man had called over the hedge to say that there would be a thunderstorm during the night, and every one knew that he never made a mistake about the weather. Nevertheless, Jack's mother watered the plants as if he had not spoken, for it seemed to her that this meteorological gift smacked a little of sorcery and black magic; but in spite of herself she felt sure that there would be a thunderstorm and that her labour was therefore vain, save perhaps as a protest against idle superstition. It was in the same spirit that she carried an umbrella on the brightest summer day.

Jack had been sent indoors because he would get his legs in the way of the watering-pot in order to cool them, so now he had to be content to look on, with his nose pressed so tightly against the pane that from outside it looked like the base of a sea-anemone growing in a glass tank. He could no longer hear the glad chuckle of the watering-pot when the water ran out, but, on the other hand, he could write his name on the window with his tongue, which he could not have done if he had been in the garden. Also he had some sweets in his pocket, bought with a halfpenny stolen from his own money-box, and as the window did not taste very nice he slipped one into his mouth and sucked it with enjoyment. He did not like being in the parlour, because he had to sit there with his best clothes on every Sunday afternoon and read the parish magazine to his sleepy parents. But the front window was lovely, like a picture, and, indeed, he thought that his mother, with the flowers all about her and the red sky overhead, was like a lady on one of the beautiful calendars that the grocer gave away at Christmas. He finished his sweet and started another; he always meant to suck them right through to make them last longer, but when the sweet was half finished he invariably crunched it up. His father had done the same thing as a boy.

The room behind him was getting dark, but outside the sky seemed to be growing lighter, and mother still stooped from bed to bed, moving placidly, like a cow. Sometimes she put the watering-pot down on the gravel path, and bent to uproot a microscopic weed or to pull the head off a dead flower. Sometimes she went to the well to get some more water, and then Jack was sorry that he had been shut indoors, for he liked letting the pail down with a run and hearing it bump against the brick sides. Once he tapped upon the window for permission to come out, but mother shook her head vigorously without turning round; and yet his stockings were hardly wet at all.

Suddenly mother straightened herself, and Jack looked up and saw his father leaning over the gate. He seemed to be making grimaces, and Jack made haste to laugh aloud in the empty room, because he knew that he was good at seeing his father's jokes. Indeed it was a funny thing that father should come home early from work and make faces at mother from the road. Mother, too, was willing to join in the fun, for she knelt down among the wet flowers, and as her head drooped lower and lower it looked, for one ecstatic moment, as though she were going to turn head over heels. But she lay quite still on the ground, and father came half-way through the gate, and then turned and ran off down the hill towards the station. Jack stood in the window, clapping his hands and laughing; it was a strange game, but not much harder to understand than most of the amusements of the grown-up people.

And then as nothing happened, as mother did not move and father did not come back, Jack grew frightened. The garden was queer and the room was full of darkness, so he beat on the window to change the game. Then, since mother did not shake her head, he ran out into the garden, smiling carefully in case he was being silly. First he went to the gate, but father was quite small far down the road, so he turned back and pulled the sleeve of his mother's dress, to wake her. After a dreadful while mother got up off the ground with her skirt all covered with wet earth. Jack tried to brush it off with his hands and made a mess of it, but she did not seem to notice, looking across the garden with such a desolate face, that when he saw it he burst into tears. For once mother let him cry himself out without seeking to comfort him; when he sniffed dolefully, his nostrils were full of the scent of crushed marigolds. He could not help watching her hands through his tears; it seemed as though they were playing together at cat's-cradle; they were not still for a moment. But it was her face that at once frightened and interested him. One minute it looked smooth and white as if she was very cross, and the next minute it was gathered up in little folds as if she was going to sneeze. Deep down in him something chuckled, and he jumped for fear that the cross part of her had heard it. At intervals during the evening, while mother was getting him his supper, this chuckle returned to him, between unnoticed fits of crying. Once she stood holding a plate in the middle of the room for quite five minutes, and he found it hard to control his mirth. If father had been there they would have had good fun together, teasing mother, but by himself he was not sure of his ground. And father did not come back, and mother did not seem to hear his questions.

He had some tomatoes and rice-pudding for his supper, and as mother left him to help himself to brown sugar he enjoyed it very much, carefully leaving the skin of the rice-pudding to the last, because that was the part he liked best. After supper he sat nodding at the open window, looking out over the plum-trees to the sky beyond, where the black clouds were putting out the stars one by one. The garden smelt stuffy, but it was nice to be allowed to sit up when you felt really sleepy. On the whole he felt that it had been a pleasant, exciting sort of day, though once or twice mother had frightened him by looking so strange. There had been other mysterious days in his life, however; perhaps he was going to have another little dead sister. Presently he discovered that it was delightful to shut your eyes and nod your head and pretend that you were going to sleep; it was like being in a swing that went up and up and never came down again. It was like being in a rowing-boat on the river after a steamer had gone by. It was like lying in a cradle under a lamplit ceiling, a cradle that rocked gently to and fro while mother sang far-away songs.

He was still a baby when he woke up, and he slipped off his chair and staggered blindly across the room to his mother, with his knuckles in his eyes like a little, little boy. He climbed into her lap and settled himself down with a grunt of contentment. There was a mutter of thunder in his ears, and he felt great warm drops of rain falling on his face. And into his dreams he carried the dim consciousness that the thunderstorm had begun.

II

The next morning at breakfast-time father had not come back, and mother said a lot of things that made Jack feel very uncomfortable. She herself had taught him that any one who said bad things about his father was wicked, but now it seemed that she was trying to tell him something about father that was not nice. She spoke so slowly that he hardly understood a word she said, though he gathered that father had stolen something, and would be put in prison if he was caught. With a guilty pang he remembered his own dealings with his money-box, and he determined to throw away the rest of the sweets when, nobody was looking. Then mother made the astounding statement that he was not to go to school that day, but his sudden joy was checked a little when she said he was not to go out at all, except into the back garden. It seemed to Jack that he must be ill, but when he made this suggestion to mother, she gave up her explanations with a sigh. Afterwards she kept on saying aloud, "I must think, I must think!" She said it so often that Jack started keeping count on his fingers.

The day went slowly enough, for the garden was wet after the thunderstorm, and mother would not play any games. Just before tea-time two gentlemen called and talked to mother in the parlour, and after a while they sent for Jack to answer some questions about father, though mother was there all the time. They seemed nice gentlemen, but mother did not ask them to stop to tea, as Jack expected. He thought that perhaps she was sorry that she had not done so, for she was very sad all tea-time, and let him spread his own bread and jam. When tea was over things were very dull, and at last Jack started crying because there was nothing else to do. Presently he heard a little noise and found that mother was crying as well. This seemed to him so extraordinary that he stopped crying to watch her; the tears ran down her cheeks very quickly, and she kept on wiping them away with her handkerchief, but if she held her handkerchief to her eyes perhaps they would not be able to come out at all. It occurred to him that possibly she was sorry she had said, wicked things about father, and to comfort her, for it made him feel fidgety to see her cry, he whispered to her that he would not tell. But she stared at him hopelessly through her red eyelids, and he felt that he had not said the right thing. She called him her poor boy, and yet it appeared that he was not ill. It was all very mysterious and uncomfortable, and it would be a good thing when father came back and everything went on as before, even though he had to go back to school.

Later on the woman from the mill came in to sit with mother. She brought Jack some sweets, but instead of playing with him she burst into tears. She made more noise when she cried than mother; in fact he was afraid that in a minute he would have to laugh at her snortings, so he went into the parlour and sat there in the dark, eating his sweets, and knitting his brow over the complexities of life. He could see five stars, and there was a light behind the red curtain of the front bedroom at Arber's farm. It was about twelve times as large as a star, and a much prettier colour. By nearly closing his eyes he could see everything double, so that there were ten stars and two red lights; he was trying to make everything come treble when the gate clicked and he saw his father's shadow. He was delighted with this happy end to a tiresome day, and as he ran through the passage he called out to mother to say that father was back. Mother did not answer, but he heard a bit of noise in the kitchen as he opened the front door.

He said "Good evening" in the grown-up voice that father encouraged, but father slipped in and shut the door without saying a word. Every night when he came back from the post-office he brought Jack the gummed edgings off the sheets of stamps, and Jack held out his hand for them as a matter of course. Automatically father felt in his overcoat pocket and pulled out a great handful. "Take care of them, they're the last you'll get," he said; but when Jack asked why, his father looked at him with the same hopeless expression that he had found in his mother's eyes a short while before. Jack felt a little cross that every one should be so stupid.

When they went into the kitchen everybody looked very strange, and Jack sat down in the corner and listened for an explanation. As a rule the conversation of the grown-up people did not amuse him, but tonight he felt that something had happened, and that if he kept quiet he might find out what it was. He had noticed before that when the grown-ups talked they always said the same things over and over again, and now they were worse than usual. Father said, "It's no good, I've got to go through it;" the mill-woman said, "Whatever made you do it, George?" And mother said, "Nothing will ever happen to me again!" They all went on saying these things till Jack grew tired of listening, and started plaiting his stamp-paper into a mat. If you did it very neatly it was almost as good as an ordinary sheet of paper by the time you had finished. By and by, while he was still at work, the mill-woman brought him his supper on a plate, and raising his head he saw that father and mother were sitting close together, looking at each other, and saying nothing at all. He was very disappointed that although father had come home they had not had any jokes all the evening, and as they were all so dull he did not very much mind being sent to bed when he had finished his supper. When he said good-night to father, he noticed that his boots were very muddy, as if he had walked a long way like a common postman. He made a joke about this, but they all looked at him as if he had said something wrong, so he hurried out of the room, glad to get away from these people whose looks had no reasonable significance, and whose words had no discoverable meaning. It had been a bad day, and he hoped mother would let him go back to school the next morning.

And yet though he took off his clothes and got into bed, the day was not quite over. He had only dozed for a few minutes when he was roused by a noise down below, and slipping out on to the staircase he heard the mill-woman saying good-night in the passage. When she had gone and the door had banged behind her, he listened still, and heard his mother crying and his father talking on and on in a strange, hoarse voice. Somehow these incomprehensible sounds made him feel lonely, and he would have liked to have gone downstairs and sat on his mother's lap and blinked drowsily in his father's face, as he had done often enough before. But he was always shy in the presence of strangers, and he felt that he did not know this woman who wept and this man who did not laugh. His father was his play-friend, the sharer of all his fun; his mother was a quiet woman who sat and sewed, and sometimes told them not to be silly, which was the best joke of all. It was not right for people to alter. But the thought of his bedroom made him desolate, and at last he plucked up his courage, and crept downstairs on bare feet. Father and mother had gone back into the kitchen, and he peeped through the crack of the door to see what they were doing. Mother was still crying, always crying, but he had to change his position before he could see father. Then he turned on his heels and ran upstairs trembling with fear and disgust. For father, the man of all the jokes, the man of whom burglars were afraid and compared with whom all other little boys' fathers were as dirt, was crying like a little girl.

He jumped into bed and pulled the bedclothes over his face to shut out the ugliness of the world.

III

When Jack woke up the next morning he found that the room was full of sunshine, and that father was standing at the end of the bed. The moment Jack opened his eyes, he began telling him something in a serious voice, which was alone sufficient to prevent Jack from understanding what he said. Besides, he used a lot of long words, and Jack thought that it was silly to use long words before breakfast, when nobody could be expected to remember what they meant. Father's body neatly fitted the square of the window, and the sunbeams shone in all round it and made it look splendid; and if Jack had not already forgotten the unfortunate impression of the night before, this would have enabled him to overcome it. Every now and then father stopped to ask him if he understood, and he said he did, hoping to find out what it was all about later on. It seemed, however, that father was not going to the post-office any more, and this caused Jack to picture a series of delightfully amusing days. When father had finished talking he appeared to expect Jack to say something, but Jack contented himself with trying to look interested, for he knew that it was always very stupid of little boys not to understand things they didn't understand. In reality he felt as if he had been listening while his father argued aloud with himself, talking up and down like an earthquake map.

At breakfast they were still subdued, but afterwards, as the morning wore on, father became livelier and helped Jack to build a hut in the back garden. They built it of bean-sticks against the wall at the end, and father broke up a packing-case to get planks for the roof. Only mother still had a sad face, and it made Jack angry with her, that she should be such a spoil-fun. After dinner, while Jack was playing in the hut, Mr. Simmons, of the police-station, and another gentleman called to take father for a walk, and Jack went down to the front to see them off. Jack knew Mr. Simmons very well; he had been to tea with his little boy, but though he thought him a fine sort of man he could not help feeling proud of his father when he saw them side by side. Mr. Simmons looked as if he were ashamed of himself, while father walked along with square shoulders and a high head as if he had just done something splendid. The other gentleman looked like nothing at all beside father.

When they were out of sight Jack went into the house and found mother crying in the kitchen. As he felt more tolerant in his after-dinner mood, he tried to cheer her up by telling her how fine father had looked beside the other two men. Mother raised her face, all swollen and spoilt with weeping, and gazed at her son in astonishment. "They are taking him to prison," she wailed, "and God knows what will become of us."

For a moment Jack felt alarmed. Then a thought came to him and he smiled, like a little boy who has just found a new and delightful game. "Never mind, mother," he said, "we'll help him to escape."

But mother would not stop crying.



Shepherd's Boy

The path climbed up and up and threatened to carry me over the highest point of the downs till it faltered before a sudden outcrop of chalk and swerved round the hill on the level. I was grateful for the respite, for I had been walking all day and my knapsack was growing heavy. Above me in the blue pastures of the skies the cloud-sheep were grazing, with the sun on their snowy backs, and all about me the grey sheep of earth were cropping the wild pansies that grew wherever the chalk had won a covering of soil.

Presently I came upon the shepherd standing erect by the path, a tall, spare man with a face that the sun and the wind had robbed of all expression. The dog at his feet looked more intelligent than he. "You've come up from the valley," he said as I passed; "perhaps you'll have seen my boy?"

"I'm sorry, I haven't," I said, pausing.

"Sorrow breaks no bones," he muttered, and strode away with his dog at his heels. It seemed to me that the dog was apologetic for his master's rudeness.

I walked on to the little hill-girt village, where I had made up my mind to pass the night. The man at the village shop said he would put me up, so I took off my knapsack and sat down on a sackful of cattle cake while the bacon was cooking.

"If you came over the hill, you'll have met shepherd," said the man, "and he'll have asked you for his boy."

"Yes, but I hadn't seen him."

The shopman nodded. "There are clever folk who say you can see him, and clever folk who say you can't. The simple ones like you and me, we say nothing, but we don't see him. Shepherd hasn't got no boy."

"What! is it a joke?"

"Well, of course it may be," said the shop-man guardedly, "though I can't say I've heard many people laughing at it yet. You see, shepherd's boy he broke his neck. . . .

"That was in the days before they built the fence above the big chalk-pit that you passed on your left coming down. A dangerous place it used to be for the sheep, so shepherd's boy he used to lie along there to stop them dropping into it, while shepherd's dog he stopped them from going too far. And shepherd he used to come down here and have his glass, for he took it then like you or me. He's blue ribbon now.

"It was one night when the mists were out on the hills, and maybe shepherd had had a glass too much, or maybe he got a bit lost in the smoke. But when he went up there to bring them home, he starts driving them into the pit as straight as could be. Shepherd's boy he hollered out and ran to stop them, but four-and-twenty of them went over, and the lad he went with them. You mayn't believe me, but five of them weren't so much as scratched, though it's a sixty feet drop. Likely they fell soft on top of the others. But shepherd's boy he was done.

"Shepherd he's a bit spotty now, and most times he thinks the boy's still with him. And there are clever folk who'll tell you that they've seen the boy helping shepherd's dog with the sheep. That would be a ghost now, I shouldn't wonder. I've never seen it, but then I'm simple, as you might say.

"But I've had two boys myself, and it seems to me that a boy like that, who didn't eat and didn't get into mischief, and did his work, would be the handiest kind of boy to have about the place."



The Passing of Edward

I found Dorothy sitting sedately on the beach, with a mass of black seaweed twined in her hands and her bare feet sparkling white in the sun. Even in the first glow of recognition I realised that she was paler than she had been the summer before, and yet I cannot blame myself for the tactlessness of my question.

"Where's Edward?" I said; and I looked about the sands for a sailor suit and a little pair of prancing legs.

While I looked Dorothy's eyes watched mine inquiringly, as if she wondered what I might see.

"Edward's dead," she said simply. "He died last year, after you left."

For a moment I could only gaze at the child in silence, and ask myself what reason there was in the thing that had hurt her so. Now that I knew that Edward played with her no more, I could see that there was a shadow upon her face too dark for her years, and that she had lost, to some extent, that exquisite carelessness of poise which makes children so young. Her voice was so calm that I might have thought her forgetful had I not seen an instant of patent pain in her wide eyes.

"I'm sorry," I said at length "very, very, sorry indeed. I had brought down my car to take you for a drive, as I promised."

"Oh! Edward would have liked that," she answered thoughtfully; "he was so fond of motors." She swung round suddenly and looked at the sands behind her with staring eyes.

"I thought I heard—" she broke off in confusion.

I, too, had believed for an instant that I had heard something that was not the wind or the distant children or the smooth sea hissing along the beach. During that golden summer which linked me with the dead, Edward had been wont, in moments of elation, to puff up and down the sands, in artistic representation of a nobby, noisy motor-car. But the dead may play no more, and there was nothing there but the sands and the hot sky and Dorothy.

"You had better let me take you for a run, Dorothy," I said. "The man will drive, and we can talk as we go along."

She nodded gravely, and began pulling on her sandy stockings.

"It did not hurt him," she said inconsequently.

The restraint in her voice pained me like a blow.

"Oh, don't, dear, don't!" I cried, "There is nothing to do but forget."

"I have forgotten, quite," she answered, pulling at her shoe-laces with calm fingers. "It was ten months ago."

We walked up to the front, where the car was waiting, and Dorothy settled herself among the cushions with a little sigh of contentment, the human quality of which brought me a certain relief. If only she would laugh or cry! I sat down by her side, but the man waited by the open door.

"What is it?" I asked.

"I'm sorry, sir," he answered, looking about him in confusion, "I thought I saw a young gentleman with you."

He shut the door with a bang, and in a minute we were running through the town. I knew that Dorothy was watching my face with her wounded eyes; but I did not look at her until the green fields leapt up on either side of the white road.

"It is only for a little while that we may not see him," I said; "all this is nothing."

"I have forgotten," she repeated. "I think this is a very nice motor."

I had not previously complained of the motor, but I was wishing then that it would cease its poignant imitation of a little dead boy, a boy who would play no more. By the touch of Dorothy's sleeve against mine I knew that she could hear it too. And the miles flew by, green and brown and golden, while I wondered what use I might be in the world, who could not help a child to forget, Possibly there was another way, I thought.

"Tell me how it happened," I said.

Dorothy looked at me with inscrutable eyes, and spoke in a voice without emotion.

"He caught a cold, and was very ill in bed. I went in to see him, and he was all white and faded. I said to him, 'How are you Edward?' and he said, 'I shall get up early in the morning to catch beetles.' I didn't see him any more."

"Poor little chap!" I murmured.

"I went to the funeral," she continued monotonously, "It was very rainy, and I threw a little bunch of flowers down into the hole. There was a whole lot of flowers there; but I think Edward liked apples better than flowers."

"Did you cry?" I said cruelly.

She paused. "I don't know. I suppose so. It was a long time ago; I think I have forgotten."

Even while she spoke I heard Edward puffing along the sands: Edward who had been so fond of apples.

"I cannot stand this any longer," I said aloud. "Let's get out and walk in the woods for a change."

She agreed, with a depth of comprehension that terrified me; and the motor pulled up with a jerk at a spot where hardly a post served to mark where the woods commenced and the wayside grass stopped. We took one of the dim paths which the rabbits had made and forced our way through the undergrowth into the peaceful twilight of the trees.

"You haven't got very sunburnt this year," I said as we walked.

"I don't know why. I've been out on the beach all the days. Sometimes I've played, too."

I did not ask her what games she had played, or who had been her play-friend. Yet even there in the quiet woods I knew that Edward was holding her back from me. It is true that, in his boy's way, he had been fond of me; but I should not have dared to take her out without him in the days when his live lips had filled the beach with song, and his small brown body had danced among the surf. Now it seemed that I had been disloyal to him.

And presently we came to a clearing where the leaves of forgotten years lay brown and rotten beneath our feet, and the air was full of the dryness of death.

"Let's be going back. What do you think, Dorothy?" I said.

"I think," she said slowly,—"I think that this would be a very good place to catch beetles."

A wood is full of secret noises, and that is why, I suppose, we heard a pair of small quick feet come with a dance of triumph through the rustling bracken. For a minute we listened deeply, and then Dorothy broke from my side with a piercing call on her lips.

"Oh, Edward, Edward!" she cried; "Edward!"

But the dead may play no more, and presently she came back to me with the tears that are the riches of childhood streaming down her face.

"I can hear him, I can hear him," she sobbed; "but I cannot see him. Never, never again."

And so I led her back to the motor. But in her tears I seemed to find a promise of peace that she had not known before.

Now Edward was no very wonderful little boy; it may be that he was jealous and vain and greedy; yet now, it seemed as he lay in his small grave with the memory of Dorothy's flowers about him, he had wrought this kindness for his sister. Yes, even though we heard no more than the birds in the branches and the wind swaying the scented bracken; even though he had passed with another summer, and the dead and the love of the dead may rise no more from the grave.



The Story Of A Book

I. THE WRITER

The history of a book must necessarily begin with the history of its author, for surely in these enlightened days neither the youngest nor the oldest of critics can believe that works of art are found under gooseberry-bushes or in the nests of storks. In truth, I am by no means sure that everybody knew this before the publication of "The Man Shakespeare," and for the sake of a mystified posterity it may be well to explain that there was once a school of criticism that thought it indecent to pry into that treasure-house of individuality from which, if we reject the nursery hypotheses mentioned above, it is clearly obvious that authors derive their works. That the drama must needs be closely related to the dramatist is just one of those simple discoveries that invariably elude the subtle professional mind; but in this wiser hour I may be permitted to assume that the author was the conscious father of his novel, and that he did not find it surprisingly in his pocket one morning, like a bad shilling taken in change from the cabman overnight.

Before he published his novel at the ripe age of thirty-seven the author had lived an irreproachable and gentlemanly life. Born with at least a German-silver spoon in his mouth, he passed, after a normally eventful childhood, through a respectable public school, and spent several agreeable years at Cambridge without taking a degree. He then went into his uncle's office in the City, where he idled daily from ten to four, till in due course he was admitted to a partnership, which enabled him to reduce his hours of idleness to eleven to three. These details become important when we reflect that from his childhood on the author had a great deal of time at his disposal. If he had been entirely normal, he would have accepted the conventions of the society to which he belonged, and devoted himself to motoring, bridge, and the encouragement of the lighter drama. But some deep-rooted habit of his childhood, or even perhaps some remote hereditary taint, led him to spend an appreciable fraction of his leisure time in the reading of works of fiction. Unlike most lovers of light literature, he read with a certain mental concentration, and was broad-minded enough to read good novels as well as bad ones.

It is a pleasant fact that it is impossible to concentrate one's mind on anything without in time becoming wiser, and in the course of years the author became quite a skilful critic of novels. From the first he had allowed his reading to colour his impressions of life, and had obediently lived in a world of blacks and whites, of heroes and heroines, of villains and adventuresses, until the grateful discovery of the realistic school of fiction permitted him to believe that men and women were for the most part neither good nor bad, but tabby. Moreover, the leisurely reading of many sentences had given him some understanding of the elements of style. He perceived that some combinations of words were illogical, and that others were unlovely to the ear; and at the same time he acquired a vocabulary and a knowledge of grammar and punctuation that his earlier education had failed to give him. He read new novels at his writing-table, and took pleasure in correcting the mistakes of their authors in ink. When he had done this, he would hand them to his wife, who always read the end first, and, indeed, rarely pursued her investigation of a book beyond the last chapter.

We buy knowledge with illusions, and pay a high price for it, for the acquirement of quite a small degree of wisdom will deprive us of a large number of pleasant fancies. So it was with the author, who found his joy in novel-reading diminishing rapidly as his critical knowledge increased. He was no longer able to lose himself between the covers of a romance, but slid his paper-knife between the pages of a book with an unwholesome readiness to be irritated by the ignorance and folly of the novelist. His destructive criticism of works of fiction became so acute that it was natural that his unlettered friends should suggest that he himself ought to write a novel. For a long while he was content to receive the flattering suggestion with a reticent smile that masked his conviction that there was a difference between criticism and creation. But as he grew older the imperfections in the books he read ceased to give him the thrill of the successful explorer in sight of the expected, and time began to trickle too slowly through his idle fingers. One day he sat down and wrote "Chapter I." at the head of a sheet of quarto paper.

It seemed to him that the difficulty was only one of selection, and he wrote two-thirds of a novel with a breathless ease of creation that made him marvel at himself and the pitiful struggles of less gifted novelists. Then in a moment of insight he picked up his manuscript and realised that what he had written was childishly crude. He had felt his story while he wrote it, but somehow or other he had failed to get his emotions on paper, and he saw quite clearly that it was worse and not better than the majority of the books which he had held up to ridicule.

There was a certain doggedness in his character that might have made him a useful citizen but for that unfortunate hereditary spoon, and he wrote "Chapter I." at the head of a new sheet of quarto paper long before the library fire had reached the heart of his first luckless manuscript. This time he wrote more slowly, and with a waning confidence that failed him altogether when he was about half-way through. Reading the fragment dispassionately he thought there were good pages in it, but, taken as a whole, it was unequal, and moved forward only by fits and starts. He began again with his late manuscript spread about him on the table for reference. At the fifth attempt he succeeded in writing a whole novel.

In the course of his struggles he had acquired a philosophy of composition. Especially he had learned to shun those enchanted hours when the labour of creation became suspiciously easy, for he had found by experience that the work he did in these moments of inspiration was either bad in itself or out of key with the preceding chapters. He thought that inspiration might be useful to poets or writers of short stories, but personally as a novelist he found it a nuisance. By dint of hard work, however, he succeeded in eliminating its evil influence from his final draft. He told himself that he had no illusions as to the merits of his book. He knew he was not a man of genius, but he knew also that the grammar and the punctuation of his novel were far above the average of such works, and although he could not read Sir Thomas Browne or Walter Pater with pleasure, he felt sure that his book was written in a straightforward and gentlemanly style. He was prepared to be told that his use of the colon was audacious, and looked forward with pleasure to an agreeable controversy on the question.

He read his book to his friends, who made suggestions that would have involved its rewriting from one end to the other. He read it to his enemies, who told him that it was nearly good enough to publish; he read it to his wife, who said that it was very nice, and that it was time to dress for dinner. No one seemed to realise that it was the most important thing he had ever done in his life. This quickened his eagerness to get it published—an eagerness only tempered by a very real fear of those knowing dogs, the critics. He could not forget that he had criticised a good many books himself in terms that would have made the authors abandon their profession if they had but heard his strictures; and he had read notices in the papers that would have made him droop with shame if they had referred to any work of his. When these sombre thoughts came to him he would pick up his book and read it again, and in common fairness he had to admit to himself that he found it uncommonly good.

One day, after a whole batch of ungrammatical novels had reached him from the library, he posted his manuscript to his favourite publisher. He had heard stories of masterpieces many times rejected, so he did not tell his wife what he had done.

II. The Sleepy Publisher

The publisher to whom our author had confided his manuscript stood, like all publishers, at the very head of his profession. His business was conducted on sound conservative lines, which means that though he had regretfully abandoned the three-volume novel for the novel published at six shillings, he was not among the intrepid revolutionaries who were beginning to produce new fiction at a still lower price. Besides novels he published solid works of biography at thirty-one and six, art books at a guinea, travel books at fifteen shillings, flighty historical works at twelve-and-sixpence, and cheap editions of Montaigne's Essays and "Robinson Crusoe" at a shilling. Some idea of his business methods may be derived from the fact that it pleased him to reflect that all the other publishers were producing exactly the same books as he was. And though he would admit that the trade had been ruined by competition and the outrageous royalties demanded by successful authors, and, further, that he made a loss on every separate department of his business, in some mysterious fashion the business as a whole continued to pay him very well. He left the active part of the management to a confidential clerk, and contented himself with signing cheques and interviewing authors.

With such a publisher the fate of our author's book was never in doubt. If it was lacking in those qualities that might be expected to commend it to the reading public, it was conspicuously rich in those merits that determine the favourable judgment of publishers' readers. It was above all things a gentlemanly book, without violence and without eccentricities. It was carefully and grammatically written; but it had not that exotic literary flavour which is so tiresome on a long railway journey. It could be put into the hands of any schoolgirl, and at most would merely send her to sleep. The only thing that could be said against it was that the author's dread of inspiration had made it grievously dull, but it was the publisher's opinion that after a glut of sensational fiction the six-shilling public had come to regard dullness as the hall-mark of literary merit. He had no illusions as to its possible success, but, on the other hand, he knew that he could not lose any money on it, so he wrote a letter to the author inviting him to an interview.

As soon as he had read the letter the author told himself that he had been certain all along that his book would be accepted. Nevertheless, he went to the interview moved by certain emotional flutterings against which circumstance had guarded him ever since his boyhood. He found this mild excitation of the nervous system by no means unpleasant. It was like digesting a new and subtle liqueur that made him light-footed and tingled in the tips of his fingers. He recalled a phrase that had greatly pleased him in the early days of his novel. "As the sun colours flowers, so Art colours life." It seemed to him that this was beginning to come true, and that life was already presenting itself to him in a gayer, brighter dress. He reached the publisher's office, therefore, in an unwontedly receptive mood, and was tremendously impressed by the rudeness of the clerks, who treated authors as mendicants and expressed their opinion of literature by handling books as if they were bundles of firewood.

The publisher looked at him under heavy eyelids, recognised his position in the social scale, and reflected with satisfaction that his acquaintances could be relied on to purchase at least a hundred copies. The interview did not at all take the lines that the author in his innocence had expected, and in a surprisingly short space of time he found himself bowed out, with the duplicate of a contract in the pocket of his overcoat. In the outer office the confidential clerk took him in hand and led him to the door of an enormous cellar, lit by electricity and filled from one end to the other with bales and heaps of books. "Books!" said the confidential clerk, with the smile of a gamekeeper displaying his hand-reared pheasants. "There are a great many," the author said timidly.

"Of course, we do not keep our stock here," the clerk explained. "These are just samples." It was sometimes necessary to remind inexperienced writers that the publication of their first book was only a trivial incident in the history of a great publishing house. The author had a sad vision of his novel as a little brick in a monstrous pyramid built of books, and the clerk mentally decided that he was not the kind of man to turn up every day at the office to ask them how they were getting on.

The author was a little dazed when he emerged into the street and the sunshine. His book, which an hour before had seemed the most important thing in the world, had, become almost insignificant in the light of that vast collection of printed matter, and in some subtle way he felt that he had dwindled with it. The publisher had praised it without enthusiasm and had not specified any of its merits; he had not even commented on his fantastic use of the colon. The author had lived with it now for many months—it had become a part of his personality, and he felt that he had betrayed himself in delivering it into the hands of strangers who could not understand it. He had the reticence of the well-bred Englishman, and though he told himself reassuringly that his novel in no way reflected his private life, he could not quite overcome the sentiment that it was a little vulgar to allow alien eyes to read the product of his most intimate thoughts. He had really been shocked at the matter-of-fact way in which every one at the office had spoken of his book, and the sight of all the other books with which it would soon be inextricably confused had emphasised the painful impression. This all seemed to rob the author's calling of its presumed distinction, and he looked at the men and women who passed him on the pavement, and wondered whether they too had written books.

This mood lasted for some weeks, at the end of which time he received the proofs, which he read and re-read with real pleasure before setting himself to correcting them with meticulous care. He performed this task with such conscientiousness, and made so many minor alterations—he changed most of those flighty colons to more conventional semicolons—that the confidential clerk swore terribly when he glanced at the proofs before handing them to a boy, with instructions to remove three-quarters of the offending emendations. A week or two later there happened one of those strange little incidents that make modern literary history. It was a bright, sunny afternoon; the publisher had been lunching with the star author of the firm, a novelist whose books were read wherever the British flag waved and there was a circulating library to distribute them, and now, in the warm twilight of the lowered blinds he was enjoying profound thoughts, delicately tinted by burgundy and old port. The shrewdest men make mistakes, and certainly it was hardly wise of the confidential clerk to choose this peaceful moment to speak about our author's book. "I suppose we shall print a thousand?" he said. "Five thousand!" ejaculated the publisher. What was he thinking about? Was he filling up an imaginary income-tax statement, or was he trying to estimate the number of butterflies that seemed to float in the amber shadows of the room? The clerk did not know. "I suppose you mean one thousand, sir?" he said gently. The publisher was now wide awake. He had lost all his butterflies, and he was not the man to allow himself to be sleepy in the afternoon. "I said five thousand!" The clerk bit his lip and left the room.

The author never heard of this brief dialogue; probably if he had been present he would have missed its significance. He would never have connected it with the flood of paragraphs that appeared in the Press announcing that the acumen of the publisher had discovered a new author of genius—paragraphs wherein he was compared with Dickens, Thackeray, Flaubert, Richardson, Sir Walter Besant, Thomas Browne, and the author of "An Englishwoman's Love-letters." As it was, it did not occur to him to wonder why the publisher should spend so much money on advertising a book of which he had seemed to have but a half-hearted appreciation. After all it was his book, and the author felt that it was only natural that as the hour of publication drew near the world of letters should show signs of a dignified excitement.

III. The Critic Errant

There are some emotions so intimate that the most intrepid writer hesitates to chronicle them lest it should be inferred that he himself is in the confessional. We have endeavoured to show our author as a level-headed English-man with his nerves well under control and an honest contempt for emotionalism in the stronger sex; but his feelings in the face of the first little bundle of reviews sent him by the press-cutting agency would prove this portrait incomplete. He noticed with a vague astonishment that the flimsy scraps of paper were trembling in his fingers like banknotes in the hands of a gambler, and he laid them down on the breakfast-table in disgust of the feminine weakness. This unmistakable proof that he had written a book, a real book, made him at once happy and uneasy. These fragments of smudged prints were his passport into a new and delightful world; they were, it might be said, the name of his destination in the great republic of letters, and yet he hesitated to look at them. He heard of the curious blindness of authors that made it impossible for them to detect the most egregious failings in their own work, and it occurred to him that this might be his malady. Why: had he published his book? He felt at that moment that he had taken too great a risk. It would have been so easy to have had it privately printed and contented himself with distributing it among his friends. But these people were paid for writing about books, these critics who had sent Keats to his gallipots and Swinburne to his fig-tree, might well have failed to have recognised that his book was sacred, because it was his own.

When he had at last achieved a fatalistic tranquillity, he once more picked up the notices, and this time he read them through carefully. The Rutlandshire Gazette quoted Shakespeare, the Thrums Times compared him with Christopher North, the Stamford-bridge Herald thought that his style resembled that of Macaulay, but they were unanimous in praising his book without reservation. It seemed to the author that he was listening to the authentic voice of fame. He rested his chin on his hand and dreamed long dreams.

He could afford in this hour of his triumph to forget the annoyances he had undergone since his book was first accepted. The publisher, with a large first edition to dispose of, had been rather more than firm with the author. He had changed the title of the book from "Earth's Returns"—a title that had seemed to the author dignified and pleasantly literary—to "The Improbable Marquis," which seemed to him to mean nothing at all. Moreover, instead of giving the book a quiet and scholarly exterior, he had bound it in boards of an injudicious heliotrope, inset with a nasty little coloured picture of a young woman with a St. Bernard dog. This binding revolted the author, who objected, with some reason, that in all his book there was no mention of a dog of that description, or, indeed, of any dog at all. The book was wrapped in an outer cover that bore a recommendation of its contents, starting with a hideous split infinitive and describing it as an exquisite social comedy written from within. On the whole it seemed to the author that his book was flying false and undesirable colours, and since art lies outside the domesticities, he was hardly relieved when his wife told him that she thought the binding was very pretty. The author had shuddered no less at the little paragraphs that the publisher had inserted in the newspapers concerning his birth and education, wherein he was bracketed with other well-known writers whose careers at the University had been equally undistinguished. But now that, like Byron, he found himself famous among the bacon and eggs, he was in no mood to remember these past vexations. As soon as he had finished breakfast he withdrew himself to his study and wrote half an essay on the Republic of Letters.

In a country wherein fifteen novels—or is it fifty?—are published every day of the year, the publisher's account of the goods he sells is bound to have a certain value. Money talks, as Mr. Arnold Bennett once observed—indeed today it is grown quite garrulous—and when a publisher spends a lot of money on advertising a book, the inference is that some one believes the book to be good. This will not secure a book good notices, but it will secure it notices of some kind or other, and that, as every publisher knows, is three-quarters of the battle. The average critic today is an old young man who has not failed in literature or art, possibly because he has not tried to accomplish anything in either. By the time he has acquired some skill in criticism he has generally ceased to be a critic, through no fault of his own, but through sheer weariness of spirit. When a man is very young he can dance upon everyone who has not written a masterpiece with a light heart, but after this period of joyous savagery there follows fatigue and a certain pity. The critic loses sight of his first magnificent standards, and becomes grateful for even the smallest merit in the books he is compelled to read. Like a mother giving a powder to her child, he is at pains to disguise his timid censure with a teaspoonful of jam. As the years pass by he becomes afraid of these books that continue to appear in unreasonable profusion, and that have long ago destroyed his faith in literature, his love of reading, his sense of humour, and the colouring matter of his hair. He realises, with a dreadful sense of the infinite, that when he is dead and buried this torrent of books will overwhelm the individualities of his successors, bound like himself to a lifelong examination of the insignificant.

Timidity is certainly the note of modern criticism, which is rarely roused to indignation save when confronted by the infrequent outrage of some intellectual anarchist. If the critics of the more important journals were not so enthusiastic as their provincial confreres, they were at least gentle with "The Improbable Marquis." A critic of genius would have said that such books were not worth writing, still less worth reading. An outspoken critic would have said that it was too dull to be an acceptable presentation of a life that we all find interesting. As it was, most of the critics praised the style in which it was written because it was quite impossible to call it an enthralling or even an entertaining book. Some of the younger critics, who still retained an interest in their own personalities, discovered that its vacuity made it a convenient mirror by means of which they would display the progress of their own genius. In common gratitude they had to close these manifestations of their merit with a word or two in praise of the book they were professing to review. "The Improbable Marquis" was very favourably received by the Press in general.

It was, as the publisher made haste to point out in his advertisements, a book of the year, and, reassured by its flippant exterior, the libraries and the public bought it with avidity. The author pasted his swollen collection of newspaper-cuttings into an album, and carefully revised his novel in case a second edition should be called for. There was one review which he had read more often than any of the others, and nevertheless he hesitated to include it in his collection. "This book," wrote the anonymous reviewer, "is as nearly faultless a book may be that possesses no positive merit. It differs only from seven-eighths of the novels that are produced today in being more carefully written. The author had nothing to say, and he has said it." That was all, three malignant lines in a paper of no commercial importance, the sort of thing that was passed round the publisher's office with an appreciative chuckle. In the face of the general amiability of the Press, such a notice in an obscure journal could do the book no harm.

Only the author sat hour after hour in his study with that diminutive scrap of paper before him on the table, and wondered if it was true.

IV. Fame

It was some little time before the public, the mysterious section of the public that reads works of fiction, discovered that the publisher, aided by the normal good-humour of the critics, had persuaded them to sacrifice some of their scant hours of intellectual recreation on a work of portentous dullness. Therefor the literary audience has its sense of humour—they amused themselves for a while by recommending the book to their friends, and the sales crept steadily up to four thousand, and there stayed with an unmistakable air of finality. If the book had had any real literary merit its life would have started at that point, for the weary comments of reviewers and the strident outcries of publishers tend to obscure rather than reveal the permanent value of a book. But six months after publication "The Improbable Marquis" was completely forgotten, save by the second-hand booksellers, who found themselves embarrassed with a number of books for which no one seemed anxious to pay six-pence, in spite of the striking heliotrope binding. The publisher, who was aware of this circumstance, offered the author five hundred copies at cost price, and the author bought them, and sent them to public libraries, without examining the motive for his action too closely. There were moments when he regarded the success of his book with suspicion. He would have preferred the praise that had greeted it to have been less violent and more clearly defined. Of all the criticisms, the only one that lingered in his mind was the curt comment, "The author had nothing to say, and he has said it." He thought it was unfair, but he had remembered it. At the same time, in examining his own character, he could not find that masterfulness that seemed to him necessary in a great man. But for the most part he was content to accept his new honours with a placid satisfaction, and to smile genially upon a world that was eager to credit him with qualities that possibly he did not possess. For if his book was no longer read his fame as an author seemed to be established on a rock. Society, with a larger S than that which he had hitherto adorned, was delighted to find after two notable failures that genius could still be presentable, and the author was rather more than that. He was rich, he had that air of the distinguished army officer which falls so easily to those who occupy the pleasant position of sleeping partner in the City, and he had just the right shade of amused modesty with which to meet inquiries as to his literary intentions. In a word, he was an author of whom any country—even France, that prolific parent of presentable authors—would have been proud. Even his wife, who had thought it an excellent joke that her husband should have written a book, had to take him seriously as an author when she found that their social position was steadily improving. With feminine tact she gave him a fountain-pen on his birthday, from which he was meant to conclude that she believed in his mission as an artist.

Meanwhile, with the world at his feet, the author spent an appreciable part of his time in visiting the second-hand bookshops and buying copies of his book absurdly cheap. He carried these waifs home and stored them in an attic secretly, for he would have found it hard to explain his motives to the intellectually childless. In the first flush of authorship he had sent a number of presentation copies of his book to writers whom he admired, and he noticed without bitterness that some of these volumes with their neatly turned inscriptions were coming back to him through this channel. At all the second-hand bookshops he saw long-haired young men looking over the books without buying them, and he thought these must be authors, but he was too shy to speak to them, though he had a great longing to know other writers. He wanted to ask them questions concerning their methods of work, for he was having trouble with his second book. He had read an article in which the writer said that the great fault of modern fiction was that authors were more concerned to produce good chapters than to produce good books. It seemed to him that in his first book he had only aimed at good sentences, but he knew no one with whom he could discuss such matters.

One day he found a copy of "The Improbable Marquis" in the Charing Cross Road, and was glancing through it with absent-minded interest, when a voice at his elbow said, "I shouldn't buy that if I were you, sir. It's no good!" He looked up and saw a wild young man, with bright eyes and an untidy black beard. "But it's mine; I wrote it," cried the author. The young man stared at him in dismay. "I'm sorry; I didn't know," he blurted out, and faded away into the crowd. The author gazed after him wistfully, regretting that he had not had presence of mind enough to ask him to lunch. Perhaps the young man could have told him how he ought to write his second book.

For somehow or other, at the very moment when his literary position seemed most secure in the eyes of his wife and his friends, the author had lost all confidence in his own powers. He shut himself up in his study every night, and was supposed by an admiring and almost timorous household to be producing masterpieces, when in reality he was conducting a series of barren skirmishes between the critical and the creative elements of his nature. He would write a chapter or two in a fine fury of composition, and then would read what he had written with intense disgust. He felt that his second book ought to be better than his first, and he doubted whether he would even be able to write anything half so good. In his hour of disillusionment he recalled the anonymous critic who had treated "The Improbable Marquis" with such scant respect, and he wrote to him asking him to expand his judgment. He was prepared to be wounded by the answer, but the form it took surprised him. In reply to his temperate and courteous letter the critic sent a postcard bearing only five short words—"Why did you write it?"

This was bad manners, but the author was sensible enough to see that it might be good criticism, especially as he found some difficulty in answering the question. Why had he written a book? Not for money, or for fame, or to express a personality of which he saw no reason to be proud. All his friends had said that he ought to write a novel, and he had thought that he could write a better one than the average. But he had to admit that such motives seemed to him insufficient. There was, perhaps, some mysterious force that drove men to create works of art, and the critic had seen that his book had lacked this necessary impulse. In the light of this new theory the author was roused by a sense of injustice. He felt that it should be possible for anyone to write a good book if they took sufficient pains, and he set himself to work again with a savage and unproductive energy.

It seemed to him that in spite of his effort to bear in mind that the whole should be greater than any part, his chapters broke up into sentences and his sentences into forlorn and ungregarious words. When he looked to his first book for comfort he found the same horrid phenomenon taking place in its familiar pages. Sometimes when he was disheartened by his fruitless efforts he slipped out into the streets, fixing his attention on concrete objects to rest his tired mind. But he could not help noticing that London had discovered the secret which made his intellectual life a torment. The streets were more than a mere assemblage of houses, London herself was more than a tangled skein of streets, and overhead heaven was more than a meeting-place of individual stars. What was this secret that made words into a book, houses into cities, and restless and measurable stars into an unchanging and immeasurable universe?



The Bird In The Garden

The room in which the Burchell family lived in Love Street, S.E., was underground and depended for light and air on a grating let into the pavement above.

Uncle John, who was a queer one, had filled the area with green plants and creepers in boxes and tins hanging from the grating, so that the room itself obtained very little light indeed, but there was always a nice bright green place for the people sitting in it to look at. Toby, who had peeped into the areas of other little boys, knew that his was of quite exceptional beauty, and it was with a certain awe that he helped Uncle John to tend the plants in the morning, watering them and taking the pieces of paper and straws that had fallen through the grating from their hair. "It is a great mistake to have straws in ones hair," Uncle John would say gravely; and Toby knew that it was true.

It was in the morning after they had just been watered that the plants looked and smelt best, and when the sun shone through the grating and the diamonds were shining and falling through the forest, Toby would tell the baby about the great bird who would one day come flying through the trees—a bird of all colours, ugly and beautiful, with a harsh sweet voice. "And that will be the end of everything," said Toby, though of course he was only repeating a story his Uncle John had told him.

There were other people in the big, dark room besides Toby and Uncle John and the baby; dark people who flitted to and fro about secret matters, people called father and mother and Mr. Hearn, who were apt to kick if they found you in their way, and who never laughed except at nights, and then they laughed too loudly.

"They will frighten the bird," thought Toby; but they were kind to Uncle John because he had a pension. Toby slept in a corner on the ground beside the baby, and when father and Mr. Hearn fought at nights he would wake up and watch and shiver; but when this happened it seemed to him that the baby was laughing at him, and he would pinch her to make her stop. One night, when the men were fighting very fiercely and mother had fallen asleep on the table, Uncle John rose from his bed and began singing in a great voice. It was a song Toby knew very well about Trafalgar's Bay, but it frightened the two men a great deal because they thought Uncle John would be too mad to fetch the pension any more. Next day he was quite well, however, and he and Toby found a large green caterpillar in the garden among the plants.

"This is a fact of great importance," said Uncle John, stroking it with a little stick. "It is a sign!"

Toby used to lie awake at nights after that and listen for the bird, but he only heard the clatter of feet on the pavement and the screaming of engines far away.

Later there came a new young woman to live in the cellar—not a dark person, but a person you could see and speak to. She patted Toby on the head; but when she saw the baby she caught it to her breast and cried over it, calling it pretty names.

At first father and Mr. Hearn were both very kind to her, and mother used to sit all day in the corner with burning eyes, but after a time the three used to laugh together at nights as before, and the woman would sit with her wet face and wait for the coming of the bird, with Toby and the baby and Uncle John, who was a queer one.

"All we have to do," Uncle John would say, "is to keep the garden clean and tidy, and to water the plants every morning so that they may be very green." And Toby would go and whisper this to the baby, and she would stare at the ceiling with large, stupid eyes.

There came a time when Toby was very sick, and he lay all day in his corner wondering about wonder. Sometimes the room in which he lay became so small that he was choked for lack of air, sometimes it was so large that he screamed out because he felt lonely. He could not see the dark people then at all, but only Uncle John and the woman, who told him in whispers that her name was "Mummie." She called him Sonny, which is a very pretty name, and when Toby heard it he felt a tickling in his sides which he knew to be gladness. Mummie's face was wet and warm and soft, and she was very fond of kissing. Every morning Uncle John would lift Toby up and show him the garden, and Toby would slip out of his arms and walk among the trees and plants. And the place would grow bigger and bigger until it was all the world, and Toby would lose himself; amongst the tangle of trees and flowers and creepers. He would see butterflies there and tame animals, and the sky was full of birds of all colours, ugly and beautiful; but he knew that none of these was the bird, because their voices were only sweet. Sometimes he showed these wonders to a little boy called Toby, who held his hand and called him Uncle John, sometimes he showed them to his mummie and he himself was Toby; but always when he came back he found himself lying in Uncle John's arms, and, weary from his walk, would fall into a pleasant dreamless sleep.

It seemed to Toby at this time that a veil hung about him which, dim and unreal in itself, served to make all things dim and unreal. He did not know whether he was asleep or awake, so strange was life, so vivid were his dreams. Mummie, Uncle John, the baby, Toby himself came with a flicker of the veil and disappeared vaguely without cause. It would happen that Toby would be speaking to Uncle John, and suddenly he would find himself looking into the large eyes of the baby, turned stupidly towards the ceiling, and again the baby would be Toby himself, a hot, dry little body without legs or arms, that swayed suspended as if by magic a foot above the bed.

Then there was the vision of two small feet that moved a long way off, and Toby would watch them curiously as kittens do their tails, without knowing the cause of their motion. It was all very wonderful and very strange, and day by day the veil grew thicker; there was no need to wake when the sleeptime was so pleasant; there were no dark people to kick you in that dreamy place.

And yet Toby woke—woke to a life and in a place which he had never known before.

He found himself on a heap of rags in a large cellar which depended for its light on a grating let into the pavement of the street above. On the stone floor of the area and swinging from the grating were a few sickly, grimy plants in pots. There must have been, a fine sunset up above, for a faint red glow came through the bars and touched the leaves of the plants.

There was a lighted candle standing in a bottle on the table, and the cellar seemed full of people. At the table itself two men and a woman were drinking, though they were already drunk, and beyond in a corner Toby could see the head and shoulders of a tall old man. Beside him there crouched a woman with a faded, pretty face, and between Toby and the rest of the room there stood a box in which lay a baby with large, wakeful eyes.

Toby's body tingled with excitement, for this was a new thing; he had never seen it before, he had never seen anything before.

The voice of the woman at the table rose and fell steadily without a pause; she was abusing the other woman, and the two drunken men were laughing at her and shouting her on; Toby thought the other woman lacked spirit because she stayed crouching on the floor and said nothing.

At last the woman stopped her abuse, and one of the men turned and shouted an order to the woman on the floor. She stood up and came towards him, hesitating; this annoyed the man and he swore at her brutally; when she came near enough he knocked her down with his fist, and all the three burst out laughing.

Toby was so excited that he knelt up in his corner and clapped his hands, but the others did not notice because the old man was up and swaying wildly over the woman. He seemed to be threatening the man who had struck her, and that one was evidently afraid of him, for he rose unsteadily and lifted the chair on which he had been sitting above his head to use as a weapon.

The old man raised his fist and the chair fell heavily on to his wrinkled forehead and he dropped to the ground.

The woman at the table cried out, "The pension!" in her shrill voice, and then they were all quiet, looking.

Then it seemed to Toby that through the forest there came flying, with a harsh sweet voice and a tumult of wings, a bird of all colours, ugly and beautiful, and he knew, though later there might be people to tell him otherwise, that that was the end of everything.



Children Of The Moon

The boy stood at the place where the park trees stopped and the smooth lawns slid away gently to the great house. He was dressed only in a pair of ragged knickerbockers and a gaping buttonless shirt, so that his legs and neck and chest shone silver bare in the moonlight. By day he had a mass of rough golden hair, but now it seemed to brood above his head like a black cloud that made his face deathly white by comparison. On his arms there lay a great heap of gleaming dew-wet roses and lilies, spoil of the park flower-beds. Their cool petals touched his cheek, and filled his nostrils with aching scent. He felt his arms smarting here and there, where the thorns of the roses had torn them in the dark, but these delicate caresses of pain only served to deepen to him the wonder of the night that wrapped him about like a cloak. Behind him there dreamed the black woods, and over his head multitudinous stars quivered and balanced in space; but these things were nothing to him, for far across the lawn that was spread knee-deep, with a web of mist there gleamed for his eager eyes the splendour of a fairy palace. Red and orange and gold, the lights of the fairy revels shone from a hundred windows and filled him with wonder that he should see with wakeful eyes the jewels that he had desired so long in sleep. He could only gaze and gaze until his straining eyes filled with tears, and set the enchanted lights dancing in the dark. On his ears, that heard no more the crying of the night-birds and the quick stir of the rabbits in the brake, there fell the strains of far music. The flowers in his arms seemed to sway to it, and his heart beat to the deep pulse of the night.

So enraptured were his senses that he did not notice the coming of the girl, and she was able to examine him closely before she called to him softly through the moonlight.

"Boy! Boy!"

At the sound of her voice he swung round and looked at her with startled eyes. He saw her excited little face and her white dress.

"Are you a fairy?" he asked hoarsely, for the night-mist was in his voice.

"No," she said, "I'm a little girl. You're a wood-boy, I suppose?"

He stayed silent, regarding her with a puzzled face. Who was this little white creature with the tender voice that had slipped so suddenly out of the night?

"As a matter of fact," the girl continued, "I've come out to have a look at the fairies. There's a ring down in the wood. You can come with me if you like, wood-boy."

He nodded his head silently, for he was afraid to speak to her, and set off through the wood by her side, still clasping the flowers to his breast.

"What were you looking at when I found you?" she asked.

"The palace—the fairy palace," the boy muttered.

"The palace?" the girl repeated. "Why, that's not a palace; that's where I live."

The boy looked at her with new awe; if she were a fairy—— But the girl had noticed that his feet made no sound beside her shoes.

"Don't the thorns prick your feet, wood-boy?" she asked; but the boy said nothing, and they were both silent for a while, the girl looking about her keenly as she walked, and the boy watching her face. Presently they came to a wide pool where a little tinkling fountain threw bubbles to the hidden fish.

"Can you swim?" she said to the boy.

He shook his head.

"It's a pity," said the girl; "we might have had a bathe. It would be rather fun in the dark, but it's pretty deep there. We'd better get on to the fairy ring."

The moon had flung queer shadows across the glade in which the ring lay, and when they stood on the edge listening intently the wood seemed to speak to them with a hundred voices.

"You can take hold of my hand, if you like," said the girl, in a whisper.

The boy dropped his flowers about his white feet and felt for the girl's hand in the dark. Soon it lay in his own, a warm live thing, that stirred a little with excitement.

"I'm not afraid," the girl said; and so they waited.

* * * * *

The man came upon them suddenly from among the silver birches. He had a knapsack on his back and his hair was as long as a tramp's. At sight of him the girl almost screamed, and her hand trembled in the boy's. Some instinct made him hold it tighter.

"What do you want?" he muttered, in his hoarse voice.

The man was no less astonished than the children.

"What on earth are you doing here?" he cried. His voice was mild and reassuring, and the girl answered him promptly.

"I came out to look for fairies."

"Oh, that's right enough," commented the man; "and you," he said, turning to the boy, "are you after fairies, too? Oh, I see; picking flowers. Do you mean to sell them?"

The boy shook his head.

"For my sister," he said, and stopped abruptly.

"Is your sister fond of flowers?"

"Yes; she's dead."

The man looked at him gravely.

"That's a phrase," he said, "and phrases are the devil. Who told you that dead people like flowers?"

"They always have them," said the boy, blushing for shame of his pretty thought.

"And what are you looking for?" the girl interrupted.

The man made a mocking grimace, and glanced around the glade as if he were afraid of being overheard.

"Dreams," he said bluntly.

The girl pondered this for a moment.

"And your knapsack?" she began.

"Yes," said the man, "it's full of them."

The children looked at the knapsack with interest, the girl's fingers tingling to undo the straps of it.

"What are they like?" she asked.

The man gave a short laugh.

"Very like yours and his, I expect; when you grow older, young woman, you'll find there's really only one dream possible for a sensible person. But you don't want to hear about my troubles. This is more in your line!" He put his hand in his pocket and pulled out a flageolet, which he put to his lips.