Yet Again Part 3

Nor let us forget Pyrrhic victory, Parthian dart, and Homeric laughter; quos deus vult and nil de mortuis; Sturm und Drang; masterly inactivity, unctuous rect.i.tude, mute inglorious Miltons, and d.a.m.ned good-natured friends; the sword of Damocles, the thin edge of the wedge, the long arm of coincidence, and the soul of goodness in things evil; Hobson's choice, Frankenstein's monster, Macaulay's schoolboy, Lord Burleigh's nod, Sir Boyle Roche's bird, Mahomed's coffin, and Davy Jones's locker.

A melancholy catalogue, is it not? But it is less melancholy for you who read it here, than for them whose existence depends on it, who draw from it a desperate means of seeming to accomplish what is impossible.

And yet these are the men who shrank in horror from Lord Rosebery's merciful idea. They ought to be saved despite themselves. Might not a short Act of Parliament be pa.s.sed, making all comment in daily newspapers illegal? In a way, of course, it would be hard on the commentators. Having lost the power of independent thought, having sunk into a state of chronic dulness, apathy and insincerity, they could hardly, be expected to succeed in any of the ordinary ways of life.

They could not compete with their fellow-creatures; no door but would be bolted if they knocked on it. What would become of them? Probably they would have to perish in what they would call 'what the late Lord Goschen would have called "splendid isolation."' But such an end were sweeter, I suggest to them, than the life they are leading.

THE DECLINE OF THE GRACES

Have you read The Young Lady's Book? You have had plenty of time to do so, for it was published in 1829. It was described by the two anonymous Gentlewomen who compiled it as 'A Manual for Elegant Recreations, Exercises, and Pursuits.' You wonder they had nothing better to think of? You suspect them of having been triflers? They were not, believe me. They were careful to explain, at the outset, that the Virtues of Character were what a young lady should most a.s.siduously cultivate.

They, in their day, labouring under the shadow of the eighteenth century, had somehow in themselves that high moral fervour which marks the opening of the twentieth century, and is said to have come in with Mr. George Bernard Shaw. But, unlike us, they were not concerned wholly with the inward and spiritual side of life. They cared for the material surface, too. They were learned in the frills and furbelows of things.

They gave, indeed, a whole chapter to 'Embroidery.' Another they gave to 'Archery,' another to 'The Aviary,' another to 'The Escrutoire.'

Young ladies do not now keep birds, nor shoot with bow and arrow; but they do still, in some measure, write letters; and so, for sake of historical comparison, let me give you a glance at 'The Escrutoire.' It is not light reading.

'For careless scrawls ye boast of no pretence; Fair Russell wrote, as well as spoke, with sense.'

Thus is the chapter headed, with a delightful little wood engraving of 'Fair Russell,' looking pre-eminently sensible, at her desk, to prepare the reader for the imminent welter of rules for 'decorous composition.'

Not that pedantry is approved. 'Ease and simplicity, an even flow of unlaboured diction, and an artless arrangement of obvious sentiments'

is the ideal to be striven for. 'A metaphor may be used with advantage'

by any young lady, but only 'if it occur naturally.' And 'allusions are elegant,' but only 'when introduced with ease, and when they are well understood by those to whom they are addressed.' 'An ant.i.thesis renders a pa.s.sage piquant'; but the dire results of a too-frequent indulgence in it are relentlessly set forth. Pages and pages are devoted to a minute survey of the pit-falls of punctuation. But when the young lady of that period had skirted all these, and had observed all the manifold rules of caligraphy that were here laid down for her, she was not, even then, out of the wood. Very special stress was laid on 'the use of the seal.' Bitter scorn was poured on young ladies who misused the seal.

'It is a habit of some to thrust the wax into the flame of the candle, and the moment a morsel of it is melted, to daub it on the paper; and when an unsightly ma.s.s is gathered together, to pa.s.s the seal over the tongue with ridiculous haste--press it with all the strength which the sealing party possesses--and the result is, an impression which raises a blush on her cheek.'

Well! The young ladies of that day were ever expected to exhibit sensibility, and used to blush, just as they wept or fainted, for very slight causes. Their tears and their swoons did not necessarily betoken much grief or agitation; nor did a rush of colour to the cheek mean necessarily that they were overwhelmed with shame. To exhibit various emotions in the drawing-room was one of the Elegant Exercises in which these young ladies were drilled thoroughly. And their habit of simulation was so rooted in sense of duty that it merged into sincerity. If a young lady did not swoon at the breakfast-table when her Papa read aloud from The Times that the Duke of Wellington was suffering from a slight chill, the chances were that she would swoon quite unaffectedly when she realised her omission. Even so, we may be sure that a young lady whose cheek burned not at sight of the letter she had sealed untidily--'unworthily' the Manual calls it--would anon be blushing for her shamelessness. Such a thing as the blurring of the family crest, or as the pollution of the profile of Pallas Athene with the smoke of the taper, was hardly, indeed, one of those 'very slight causes' to which I have referred. The Georgian young lady was imbued through and through with the sense that it was her duty to be gracefully efficient in whatsoever she set her hand to. To the young lady of to-day, belike, she will seem accordingly ridiculous--seem poor-spirited, and a pettifogger. True, she set her hand to no grandiose tasks. She was not allowed to become a hospital nurse, for example, or an actress. The young lady of to-day, when she hears in herself a 'vocation' for tending the sick, would willingly, without an instant's preparation, a.s.sume responsibility for the lives of a whole ward at St. Thomas's. This responsibility is not, however, thrust on her. She has to submit to a long and tedious course of training before she may do so much as smooth a pillow. The boards of the theatre are less jealously hedged in than those of the hospital. If our young lady have a wealthy father, and retain her schoolroom faculty for learning poetry by heart, there is no power on earth to prevent her from making her de'but, somewhere, as Juliet--if she be so inclined; and such is usually her inclination. That her voice is untrained, that she cannot scan blank-verse, that she cannot gesticulate with grace and propriety, nor move with propriety and grace across the stage, matters not a little bit--to our young lady. 'Feeling,' she will say, 'is everything'; and, of course, she, at the age of eighteen, has more feeling than Juliet, that 'flapper,' could have had. All those other things--those little technical tricks--'can be picked up,' or 'will come.' But no; I misrepresent our young lady. If she be conscious that there are such tricks to be played, she despises them. When, later, she finds the need to learn them, she still despises them. It seems to her ridiculous that one should not speak and comport oneself as artlessly on the stage as one does off it. The notion of speaking or comporting oneself with conscious art in real life would seem to her quite monstrous. It would puzzle her as much as her grandmother would have been puzzled by the contrary notion.

Personally, I range myself on the grandmother's side. I take my stand shoulder to shoulder with the Graces. On the banner that I wave is embroidered a device of prunes and prisms.

I am no blind fanatic, however. I admit that artlessness is a charming idea. I admit that it is sometimes charming as a reality. I applaud it (all the more heartily because it is rare) in children. But then, children, like the young of all animals whatsoever, have a natural grace. As a rule, they begin to show it in their third year, and to lose it in their ninth. Within that span of six years they can be charming without intention; and their so frequent failure in charm is due to their voluntary or enforced imitation of the ways of their elders. In Georgian and Early Victorian days the imitation was always enforced. Grown-up people had good manners, and wished to see them reflected in the young. Nowadays, the imitation is always voluntary.

Grown-up people have no manners at all; whereas they certainly have a very keen taste for the intrinsic charm of children. They wish children to be perfectly natural. That is (aesthetically at least) an admirable wish. My complaint against these grown-up people is, that they themselves, whom time has robbed of their natural grace as surely as it robs the other animals, are content to be perfectly natural. This contentment I deplore, and am keen to disturb.

I except from my indictment any young lady who may read these words. I will a.s.sume that she differs from the rest of the human race, and has not, never had, anything to learn in the art of conversing prettily, of entering or leaving a room or a vehicle gracefully, of writing appropriate letters, et patati et patata. I will a.s.sume that all these accomplishments came naturally to her. She will now be in a mood to accept my proposition that of her contemporaries none seems to have been so lucky as herself. She will agree with me that other girls need training. She will not deny that grace in the little affairs of life is a thing which has to be learned. Some girls have a far greater apt.i.tude for learning it than others; but, with one exception, no girls have it in them from the outset. It is a not less complicated thing than is the art of acting, or of nursing the sick, and needs for the acquirement of it a not less laborious preparation.

Is it worth the trouble? Certainly the trouble is not taken. The 'finishing school,' wherein young ladies were taught to be graceful, is a thing of the past. It must have been a dismal place; but the dismalness of it--the strain of it--was the measure of its indispensability. There I beg the question. Is grace itself indispensable? Certainly, it has been dispensed with. It isn't reckoned with. To sit perfectly mute 'in company,' or to chatter on at the top of one's voice; to shriek with laughter; to fling oneself into a room and dash oneself out of it; to collapse on chairs or sofas; to sprawl across tables; to slam doors; to write, without punctuation, notes that only an expert in handwriting could read, and only an expert in mis-spelling could understand; to hustle, to bounce, to go straight ahead--to be, let us say, perfectly natural in the midst of an artificial civilisation, is an ideal which the young ladies of to-day are neither publicly nor privately discouraged from cherishing. The word 'cherishing' implies a softness of which they are not guilty. I hasten to subst.i.tute 'pursuing.' If these young ladies were not in the aforesaid midst of an artificial civilisation, I should be the last to discourage their pursuit. If they were Amazons, for example, spending their lives beneath the sky, in tilth of stubborn fields, and in armed conflict with fierce men, it would be unreasonable to expect of them any sacrifice to the Graces. But they are exposed to no such hardships.

They have a really very comfortable sort of life. They are not expected to be useful. (I am writing all the time, of course, about the young ladies in the affluent cla.s.ses.) And it seems to me that they, in payment of their debt to Fate, ought to occupy the time that is on their hands by becoming ornamental, and increasing the world's store of beauty. In a sense, certainly, they are ornamental. It is a strange fact, and an ironic, that they spend quite five times the annual amount that was spent by their grandmothers on personal adornment. If they can afford it, well and good: let us have no sumptuary law. But plenty of pretty dresses will not suffice. Pretty manners are needed with them, and are prettier than they.

I had forgotten men. Every defect that I had noted in the modern young woman is not less notable in the modern young man. Briefly, he is a boor. If it is true that 'manners makyth man,' one doubts whether the British race can be perpetuated. The young Englishman of to-day is inferior to savages and to beasts of the field in that they are eager to show themselves in an agreeable and seductive light to the females of their kind, whilst he regards any such effort as beneath his dignity. Not that he cultivates dignity in demeanour. He merely slouches. Unlike his feminine counterpart, he lets his raiment match his manners. Observe him any afternoon, as he pa.s.ses down Piccadilly, sullenly, with his shoulders humped, and his hat clapped to the back of his head, and his cigarette dangling almost vertically from his lips.

It seems only appropriate that his hat is a billy-c.o.c.k, and his shirt a flannel one, and that his boots are brown ones. Thus attired, he is on his way to pay a visit of ceremony to some house at which he has recently dined. No; that is the sort of visit he never pays. (I must confess I don't myself.) But one remembers the time when no self-respecting youth would have shown himself in Piccadilly without the vesture appropriate to that august highway. Nowadays there is no care for appearances. Comfort is the one aim. Any care for appearances is regarded rather as a sign of effeminacy. Yet never, in any other age of the world's history, has it been regarded so. Indeed, elaborate dressing used to be deemed by philosophers an outcome of the s.e.x-instinct. It was supposed that men dressed themselves finely in order to attract the admiration of women, just as peac.o.c.ks spread their plumage with a similar purpose. Nor do I jettison the old theory. The declension of masculine attire in England began soon after the time when statistics were beginning to show the great numerical preponderance of women over men; and is it fanciful to trace the one fact to the other? Surely not. I do not say that either s.e.x is attracted to the other by elaborate attire. But I believe that each s.e.x, consciously or unconsciously, uses this elaboration for this very purpose. Thus the over-dressed girl of to-day and the ill-dressed youth are but symbols of the balance of our population. The one is pleading, the other scorning. 'Take me!' is the message borne by the furs and the pearls and the old lace. 'I'll see about that when I've had a look round!' is the not pretty answer conveyed by the billy-c.o.c.k and the flannel shirt.

I dare say that fine manners, like fine clothes, are one of the stratagems of s.e.x. This theory squares at once with the modern young man's lack of manners. But how about the modern young woman's not less obvious lack? Well, the theory will square with that, too. The modern young woman's gracelessness may be due to her conviction that men like a girl to be thoroughly natural. She knows that they have a very high opinion of themselves; and what, thinks she, more natural than that they should esteem her in proportion to her power of reproducing the qualities that are most salient in themselves? Men, she perceives, are clumsy, and talk loud, and have no drawing-room accomplishments, and are rude; and she proceeds to model herself on them. Let us not blame her. Let us blame rather her parents or guardians, who, though they well know that a masculine girl attracts no man, leave her to the devices of her own inexperience. Girls ought not to be allowed, as they are, to run wild. So soon as they have lost the natural grace of childhood, they should be initiated into that course of artificial training through which their grandmothers pa.s.sed before them, and in virtue of which their grandmothers were pleasing. This will not, of course, ensure husbands for them all; but it will certainly tend to increase the number of marriages. Nor is it primarily for that sociological reason that I plead for a return to the old system of education. I plead for it, first and last, on aesthetic grounds. Let the Graces be cultivated for their own sweet sake.

The difficulty is how to begin. The mothers of the rising generation were brought up in the unregenerate way. Their sc.r.a.ps of oral tradition will need to be supplemented by much research. I advise them to start their quest by reading The Young Lady's Book. Exactly the right spirit is therein enshrined, though of the substance there is much that could not be well applied to our own day. That chapter on 'The Escrutoire,'

for example, belongs to a day that cannot be recalled. We can get rid of bad manners, but we cannot subst.i.tute the Sedan-chair for the motor-car; and the penny post, with telephones and telegrams, has, in our own beautiful phrase, 'come to stay,' and has elbowed the art of letter-writing irrevocably from among us. But notes are still written; and there is no reason why they should not be written well. Has the mantle of those anonymous gentlewomen who wrote The Young Lady's Book fallen on no one? Will no one revise that 'Manual of Elegant Recreations, Exercises, and Pursuits,' adapting it to present needs?...

A few hints as to Deportment in the Motor-Car; the exact Angle whereat to hold the Receiver of a Telephone, and the exact Key wherein to pitch the Voice; the Conduct of a Cigarette... I see a wide and golden vista.

WHISTLER'S WRITING

No book-lover, I. Give me an uninterrupted view of my fellow-creatures.

The most tedious of them pleases me better than the best book. You see, I admit that some of them are tedious. I do not deem alien from myself nothing that is human: I discriminate my fellow-creatures according to their contents. And in that respect I am not more different in my way from the true humanitarian than from the true bibliophile in his. To him the content of a book matters not at all. He loves books because they are books, and discriminates them only by the irrelevant standard of their rarity. A rare book is not less dear to him because it is unreadable, even as to the sn.o.b a dull duke is as good as a bright one.

Indeed, why should he bother about readableness? He doesn't want to read. 'Uncut edges' for him, when he can get them; and, even when he can't, the notion of reading a rare edition would seem to him quite uncouth and preposterous The aforesaid sn.o.b would as soon question His Grace about the state of His Grace's soul. I, on the other hand, whenever human company is denied me, have often a desire to read.

Reading, I prefer cut edges, because a paper-knife is one of the things that have the gift of invisibility whenever they are wanted; and because one's thumb, in prising open the pages, so often affects the text. Many volumes have I thus mutilated, and I hope that in the sale-rooms of a sentimental posterity they may fetch higher prices than their duly uncut duplicates. So long as my thumb tatters merely the margin, I am quite equanimous. If I were reading a First Folio Shakespeare by my fireside, and if the matchbox were ever so little beyond my reach, I vow I would light my cigarette with a spill made from the margin of whatever page I were reading. I am neat, scrupulously neat, in regard to the things I care about; but a book, as a book, is not one of these things.

Of course, a book may happen to be in itself a beautiful object. Such a book I treat tenderly, as one would a flower. And such a book is, in its brown-papered boards, whereon gleam little gilt italics and a little gilt b.u.t.terfly, Whistler's Gentle Art of Making Enemies. It happens to be also a book which I have read again and again--a book that has often travelled with me. Yet its cover is as fresh as when first, some twelve years since, it came into my possession. A flower freshly plucked, one would say--a brown-and-yellow flower, with a little gilt b.u.t.terfly fluttering over it. And its inner petals, its delicately proportioned pages, are as white and undishevelled as though they never had been opened. The book lies open before me, as I write. I must be careful of my pen's transit from inkpot to MS.

Yet, I know, many worthy folk would like the book blotted out of existence. These are they who understand and love the art of painting, but neither love nor understand writing as an art. For them The Gentle Art of Making Enemies is but something unworthy of a great man.

Certainly, it is a thing incongruous with a great hero. And for most people it is painful not to regard a great man as also a great hero; hence all the efforts to explain away the moral characteristics deducible from The Gentle Art of Making Enemies, and to prove that Whistler, beneath a p.r.i.c.kly surface, was saturated through and through with the quintessence of the Sermon on the Mount.

Well! hero-worship is a very good thing. It is a wholesome exercise which we ought all to take, now and again. Only, let us not strain ourselves by overdoing it. Let us not indulge in it too constantly. Let hero-worship be reserved for heroes. And there was nothing heroic about Whistler, except his unfaltering devotion to his own ideals in art. No saint was he, and none would have been more annoyed than he by canonisation; would he were here to play, as he would have played incomparably, the devil's advocate! So far as he possessed the Christian virtues, his faith was in himself, his hope was for the immortality of his own works, and his charity was for the defects in those works. He is known to have been an affectionate son, an affectionate husband; but, for the rest, all the tenderness in him seems to have been absorbed into his love for such things in nature as were expressible through terms of his own art. As a man in relation to his fellow-men, he cannot, from any purely Christian standpoint, be applauded. He was inordinately vain and cantankerous. Enemies, as he has wittily implied, were a necessity to his nature; and he seems to have valued friendship (a thing never really valuable, in itself, to a really vain man) as just the needful foundation for future enmity.

Quarrelling and picking quarrels, he went his way through life blithely. Most of these quarrels were quite trivial and tedious. In the ordinary way, they would have been forgotten long ago, as the trivial and tedious details in the lives of other great men are forgotten. But Whistler was great not merely in painting, not merely as a wit and dandy in social life. He had, also, an extraordinary talent for writing. He was a born writer. He wrote, in his way, perfectly; and his way was his own, and the secret of it has died with him. Thus, conducting them through the Post Office, he has conducted his squabbles to immortality.

Immortality is a big word. I do not mean by it that so long as this globe shall endure, the majority of the crawlers round it will spend the greater part of their time in reading The Gentle Art of Making Enemies. Even the pre-eminently immortal works of Shakespeare are read very little. The average of time devoted to them by Englishmen cannot (even though one a.s.sess Mr. Frank Harris at eight hours per diem, and Mr. Sidney Lee at twenty-four) tot up to more than a small fraction of a second in a lifetime reckoned by the Psalmist's limit. When I dub Whistler an immortal writer, I do but mean that so long as there are a few people interested in the subtler ramifications of English prose as an art-form, so long will there be a few constantly-recurring readers of The Gentle Art.

There are in England, at this moment, a few people to whom prose appeals as an art; but none of them, I think, has yet done justice to Whistler's prose. None has taken it with the seriousness it deserves. I am not surprised. When a man can express himself through two media, people tend to take him lightly in his use of the medium to which he devotes the lesser time and energy, even though he use that medium not less admirably than the other, and even though they themselves care about it more than they care about the other. Perhaps this very preference in them creates a prejudice against the man who does not share it, and so makes them sceptical of his power. Anyhow, if Disraeli had been unable to express himself through the medium of political life, Disraeli's novels would long ago have had the due which the expert is just beginning to give them. Had Rossetti not been primarily a poet, the expert in painting would have acquired long ago his present penetration into the peculiar value of Rossetti's painting. Likewise, if Whistler had never painted a picture, and, even so, had written no more than he actually did write, this essay in appreciation would have been forestalled again and again. As it is, I am a sort of herald. And, however loudly I shall blow my trumpet, not many people will believe my message. For many years to come, it will be the fashion among literary critics to pooh-pooh Whistler, the writer, as an amateur. For Whistler was primarily a painter--not less than was Rossetti primarily a poet, and Disraeli a statesman. And he will not live down quicklier than they the taunt of amateurishness in his secondary art. Nevertheless, I will, for my own pleasure, blow the trumpet.

I grant you, Whistler was an amateur. But you do not dispose of a man by proving him to be an amateur. On the contrary, an amateur with real innate talent may do, must do, more exquisite work than he could do if he were a professional. His very ignorance and tentativeness may be, must be, a means of especial grace. Not knowing 'how to do things,'

having no ready-made and ready-working apparatus, and being in constant fear of failure, he has to grope always in the recesses of his own soul for the best way to express his soul's meaning. He has to shift for himself, and to do his very best. Consequently, his work has a more personal and fresher quality, and a more exquisite 'finish,' than that of a professional, howsoever finely endowed. All of the much that we admire in Walter Pater's prose comes of the lucky chance that he was an amateur, and never knew his business. Had Fate thrown him out of Oxford upon the world, the world would have been the richer for the prose of another John Addington Symonds, and would have forfeited Walter Pater's prose. In other words, we should have lost a half-crown and found a shilling. Had Fate withdrawn from Whistler his vision for form and colour, leaving him only his taste for words and phrases and cadences, Whistler would have settled solidly down to the art of writing, and would have mastered it, and, mastering it, have lost that especial quality which the Muse grants only to them who approach her timidly, bashfully, as suitors.

Perhaps I am wrong. Perhaps Whistler would never, in any case, have acquired the professional touch in writing. For we know that he never acquired it in the art to which he dedicated all but the surplus of his energy. Compare him with the other painters of his day. He was a child in comparison with them. They, with sure science, solved roughly and readily problems of modelling and drawing and what not that he never dared to meddle with. It has often been said that his art was an art of evasion. But the reason of the evasion was reverence. He kept himself reverently at a distance. He knew how much he could not do, nor was he ever confident even of the things that he could do; and these things, therefore, he did superlatively well, having to grope for the means in the recesses of his soul. The particular quality of exquisiteness and freshness that gives to all his work, whether on canvas or on stone or on copper, a distinction from and above any contemporary work, and makes it dearer to our eyes and hearts, is a quality that came to him because he was an amateur, and that abided with him because he never ceased to be an amateur. He was a master through his lack of mastery.

In the art of writing, too, he was a master through his lack of mastery. There is an almost exact parallel between the two sides of his genius. Nothing could be more absurd than the general view of him as a masterly professional on the one side and a trifling amateur on the other. He was, certainly, a painter who wrote; but, by the slightest movement of Fate's little finger, he might have been a writer who painted, and this essay have been written not by me from my standpoint, but by some painter, eager to suggest that Whistler's painting was a quite serious thing.

Yes, that painting and that writing are marvellously akin; and such differences as you will see in them are superficial merely. I spoke of Whistler's vanity in life, and I spoke of his timidity and reverence in art. That contradiction is itself merely superficial. Bob Acres was timid, but he was also vain. His swagger was not an empty a.s.sumption to cloak his fears; he really did regard himself as a masterful and dare-devil fellow, except when he was actually fighting. Similarly, except when he was at his work, Whistler, doubtless, really did think of himself as a brilliant effortless b.u.t.terfly. The pose was, doubtless a quite sincere one, a necessary reaction of feeling. Well, in his writing he displays to us his vanity; whilst in his Painting we discern only his reverence. In his writing, too, he displays his harshness--swoops. .h.i.ther and thither a b.u.t.terfly equipped with sharp little beak and talons; whereas in his painting we are conscious only of his caressing sense of beauty. But look from the writer, as shown by himself, to the means by which himself is shown. You will find that for words as for colour-tones he has the same reverent care, and for phrases as for forms the same caressing sense of beauty.

Fastidiousness--'daintiness,' as he would have said--dandyishness, as we might well say: by just that which marks him as a painter is he marked as a writer too. His meaning was ever ferocious; but his method, how delicate and tender! The portrait of his mother, whom he loved, was not wrought with a more loving hand than were his portraits of Mr.

Harry Quilter for The World.

His style never falters. The silhouette of no sentence is ever blurred.

Every sentence is ringing with a clear vocal cadence. There, after all, in that vocal quality, is the chief test of good writing. Writing, as a means of expression, has to compete with talking. The talker need not rely wholly on what he says. He has the help of his mobile face and hands, and of his voice, with its various inflexions and its variable pace, whereby he may insinuate fine shades of meaning, qualifying or strengthening at will, and clothing naked words with colour, and making dead words live. But the writer? He can express a certain amount through his handwriting, if he write in a properly elastic way. But his writing is not printed in facsimile. It is printed in cold, mechanical, monotonous type. For his every effect he must rely wholly on the words that he chooses, and on the order in which he ranges them, and on his choice among the few hard-and-fast symbols of punctuation. He must so use those slender means that they shall express all that he himself can express through his voice and face and hands, or all that he would thus express if he were a good talker. Usually, the good talker is a dead failure when he tries to express himself in writing. For that matter, so is the bad talker. But the bad talker has the better chance of success, inasmuch as the inexpressiveness of his voice and face and hands will have sharpened his scent for words and phrases that shall in themselves convey such meanings as he has to express. Whistler was that rare phenomenon, the good talker who could write as well as he talked.

Read any page of The Gentle Art of Making Enemies, and you will hear a voice in it, and see a face in it, and see gestures in it. And none of these is quite like any other known to you. It matters not that you never knew Whistler, never even set eyes on him. You see him and know him here. The voice drawls slowly, quickening to a kind of snap at the end of every sentence, and sometimes rising to a sudden screech of laughter; and, all the while, the fine fierce eyes of the talker are flashing out at you, and his long nervous fingers are tracing extravagant arabesques in the air. No! you need never have seen Whistler to know what he was like. He projected through printed words the clean-cut image and clear-ringing echo of himself. He was a born writer, achieving perfection through pains which must have been infinite for that we see at first sight no trace of them at all.

Like himself, necessarily, his style was cosmopolitan and eccentric. It comprised Americanisms and c.o.c.kneyisms and Parisian argot, with constant reminiscences of the authorised version of the Old Testament, and with chips off Molie're, and with shreds and tags of what-not s.n.a.t.c.hed from a hundred-and-one queer corners. It was, in fact, an Autolycine style. It was a style of the maddest motley, but of motley so deftly cut and fitted to the figure, and worn with such an air, as to become a gracious harmony for all beholders.

After all, what matters is not so much the vocabulary as the manner in which the vocabulary is used. Whistler never failed to find right words, and the right cadence for a dignified meaning, when dignity was his aim. 'And when the evening mist clothes the riverside with poetry, as with a veil, and the poor buildings lose themselves in the dim sky, and the tall chimneys become campanili, and the warehouses are palaces in the night, and the whole city hangs in the heavens, and fairyland is before us...' That is as perfect, in its dim and delicate beauty, as any of his painted 'nocturnes.' But his aim was more often to pour ridicule and contempt. And herein the weirdness of his natural vocabulary and the patchiness of his reading were of very real value to him. Take the opening words of his letter to Tom Taylor: 'Dead for a ducat, dead! my dear Tom: and the rattle has reached me by post. Sans rancune, say you? Bah! you scream unkind threats and die badly...' And another letter to the same unfortunate man: 'Why, my dear old Tom, I never was serious with you, even when you were among us. Indeed, I killed you quite, as who should say, without seriousness, "A rat! A rat!" you know, rather cursorily...' There the very lack of coherence in the style, as of a man gasping and choking with laughter, drives the insults home with a horrible precision. Notice the technical skill in the placing of 'you know, rather cursorily' at the end of the sentence.

Whistler was full of such tricks--tricks that could never have been played by him, could never have occurred to him, had he acquired the professional touch And not a letter in the book but has some such little sharp felicity of cadence or construction.

The letters, of course, are the best thing in the book, and the best of the letters are the briefest. An exquisite talent like Whistler's, whether in painting or in writing, is always at its best on a small scale. On a large scale it strays and is distressed. Thus the 'Ten o'Clock,' from which I took that pa.s.sage about the evening mist and the riverside, does not leave me with a sense of artistic satisfaction. It lacks structure. It is not a roundly conceived whole: it is but a row of fragments. Were it otherwise, Whistler could never have written so perfectly the little letters. For no man who can finely grasp a big theme can play exquisitely round a little one.

Nor can any man who excels in scoffing at his fellows excel also in taking abstract subjects seriously. Certainly, the little letters are Whistler's pa.s.sport among the elect of literature. Luckily, I can judge them without prejudice. Whether in this or that case Whistler was in the right or in the wrong is not a question which troubles me at all. I read the letters simply from the literary standpoint. As controversial essays, certainly, they were often in very bad taste. An urchin scribbling insults upon somebody's garden-wall would not go further than Whistler often went. Whistler's mode of controversy reminds me, in another sense, of the writing on the wall. They who were so foolish as to oppose him really did have their souls required of them. After an encounter with him they never again were quite the same men in the eyes of their fellows. Whistler's insults always stuck--stuck and spread round the insulted, who found themselves at length encased in them, like flies in amber.

You may shed a tear over the flies, if you will. For myself, I am content to laud the amber.

ICHABOD

It is not cast from any obvious mould of sentiment. It is not a memorial urn, nor a ruined tower, nor any of those things which he who runs may weep over. Though not less really deplorable than they, it needs, I am well aware, some sort of explanation to enable my reader to mourn with me. For it is merely a hat-box.

It is nothing but that--an ordinary affair of pig-skin, with a bra.s.s lock. As I write, it stands on a table near me. It is of the kind that accommodates two hats, one above the other. It has had many tenants, and is sun-tanned, rain-soiled, scarred and dented by collision with trucks and what not other accessories to the moving scenes through which it has been bandied. Yes! it has known the stress of many journeys; yet has it never (you would say, seeing it) received its baptism of paste: it has not one label on it. And there, indeed, is the tragedy that I shall unfold.

For many years this hat-box had been my travelling companion, and was, but a few days since, a dear record of all the big and little journeys I had made. It was much more to me than a mere receptacle for hats. It was my one collection, my collection of labels. Well! last week its lock was broken. I sent it to the trunk-makers, telling them to take the greatest care of it. It came back yesterday. The idiots, the accursed idots! had carefully removed every label from its surface. I wrote to them--it matters not what I said. My fury has burnt itself out. I have reached the stage of craving general sympathy. So I have sat down to write, in the shadow of a tower which stands bleak, bare, prosaic, all the ivy of its years stripped from it; in the shadow of an urn commemorating nothing.