Young Lives Part 20

That dusty table--evidently the rubbish-heap of the room--was Henry's first object-lesson in the half tragical, half farcical, over-production of modern literature. Such a ma.s.s of foolishness and inept.i.tude he had never conceived of; such pretentiousness too--and while he made various melancholy reflections upon human vanity, what should he unearth suddenly from the heap, but his own little volume. He could but half suppress a cry of recognition.

"What's that?" asked the editor, not turning round. "Found anything?"

"No," said Henry; "nothing--for a moment I thought I had."

Presently he had made a small pile of the most promising volumes, and turned to take his leave. The editor took up one or two of them carelessly.

"Not much here, I'm afraid," he said. "Never mind; see what you can make of them. Not more than three columns at the most, you know. And come and see me again. I'm glad to have seen you."

"Oh," said Henry, on the point of leaving, and laying his hand on his own little book, "may I take this one too? It's not worth reviewing, but it rather interested me just now."

"G.o.d bless me, yes, certainly," said the editor; "you're welcome to the lot, if you care to bring a hand-cart. Good-bye, good-bye."

And Henry slipped his poor little neglected volume into his pocket. On how many dusty tables, he wondered, was it then lying ignominiously disregarded. Well, the day would come! Meanwhile, he had his first batch of books for review.

CHAPTER x.x.xIV

THE WITS

There now remained the gathering of wits fixed for the evening. His publisher had asked him to dinner, but he had declined, from a secret and absurd desire to dine at "The c.o.c.k." This he gratified, and with his mind full of the s.p.a.cious times of the early Victorians, he turned into the publisher's little room about nine o'clock to meet some of the later.

There was no great muster as yet. Some half-a-dozen rather shy young men spasmodically picked up strange drawings or odd-looking books, lying about on the publisher's tables, struggled maidenly with cigars, sipped a little whisky and soda; but little was said.

Among them a pale-faced lad of about fifteen, miraculously self-possessed, stood with his back to the chimney-piece. But soon others began to turn in, and by ten the room was as full of chatter and smoke as it could hold. Not least conspicuous among the talkers was the pale-faced boy of fifteen. Henry had been sitting near to him, and had been suddenly startled by his unexpectedly breaking out into a volley of learning, delivered in a voice impressively deliberate and sententious.

"What a remarkable boy that is!" said Henry, innocently, to the publisher.

"Yes; but he's not quite a boy,--though he's young enough. A curious little creature, morbidly learned. A friend of mine says that he would like to catch him and keep him in a bottle, and label it 'the learned homunculus.'"

"What dialect is it he is talking in?" said Henry; "I don't remember to have heard it before."

The publisher smiled: "My dear fellow, you must be careful what you say.

That is what we call 'the Oxford voice.'"

"How remarkable!" said Henry, his attention called off by a being with a face that half suggested a faun, and half suggested a flower,--a small, olive-skinned face crowned with purply black hair, that kept falling in an elflock over his forehead, and violet eyes set slant-wise. He was talking earnestly of fairies, in a beautiful Irish accent, and Henry liked him. The attraction seemed mutual, and Henry found himself drawn into a remarkable relation about a fairy-hill in Connemara, and fairy lights that for several nights had been seen glimmering about it; and how at last he--that is, the narrator--and a particularly hard-headed friend of his had kept watch one moonlit night, with the result that they had actually seen and talked with the queen of the fairies and learned many secrets of the ----. The narrator here made use of a long, unp.r.o.nounceable Irish word, which Henry could not catch.

"I should have explained some of these phenomena to you," whispered the publisher presently, noticing that Henry looked a little bewildered.

"This is a young Irish poet, who, in the intervals of his raising the devil, writes very beautiful lyrics that he may well have learned from the fairies. It is his method to seem mad on magic and such things. You will meet with many strange methods here to-night. Don't be alarmed if some one comes and talks to you about strange sins. You have come to London in the 'strange sins' period. I will explain afterwards."

He had hardly spoken when a pallid young man, with a preternatural length and narrowness of face, began to talk to him about the sins of the Borgias.

"I suppose you never committed a murder yourself?" he asked Henry, languidly.

"No," said Henry, catching the spirit of the foolishness; "no, not yet.

I am keeping that--" implying that he was reserving so extreme a stimulant till all his other vices failed him.

Presently there entered a tall young man with a long, thin face, curtained on either side with enormous ma.s.ses of black hair, like a slip of the young moon glimmering through a pine-wood.

At the same moment there entered, as if by design, his very ant.i.thesis: a short, firmly built, clerkly fellow, with a head like a billiard-ball in need of a shave, a big brown moustache, and enormous spectacles.

"That," said the publisher, referring to the moon-in-the-pine-wood young man, "is our young apostle of sentiment, our new man of feeling, the best-hated man we have; and the other is our young apostle of blood. He is all for muscle and brutality--and he makes all the money. It is one of our many fashions just now to sing 'Britain and Brutality.' But my impression is that our young man of feeling will have his day,--though he will have to wait for it. He would hasten it if he would cut his hair; but that, he says, he will never do. His hair, he says, is his battle-cry. Well, he enjoys himself--and loves a fight, though you mightn't think it to look at him."

A supercilious young man, with pink cheeks, and a voice which his admirers compared to Sh.e.l.ley's, then came up to Henry and asked him what he thought of Mallarme's latest sonnet; but finding Henry confessedly at sea, turned the conversation to the Empire ballet, of which, unfortunately, Henry knew as little. The conversation then languished, and the Sh.e.l.ley-voiced young man turned elsewhere for sympathy, with a shrug at your country b.u.mpkins who know nothing later than Rossetti.

In the thick of the conversational turmoil, Henry's attention had from time to time been attracted by the noise proceeding from a bl.u.s.tering, red-headed man, with a face of fire.

"Who is that?" at last he found opportunity to ask his friend.

"That is our greatest critic," said the publisher.

"Oh!" said Henry, "I must try and hear what he is saying. It seems important from the way he is listened to."

So Henry listened, and heard how the fire-faced man said the word "d.a.m.n"

with great volubility and variety of cadence, and other words to the same effect, and how the little group around him hung upon his words and said to each other, "How brilliant!" "How absolute!"

Henry turned to his friend. "The only word I can catch is the word 'd.a.m.n,'" he said.

"That," said the publisher, with a laugh, "is the master-word of fashionable criticism."

Presently a little talkative man came up, and said that he hoped Mr.

Mesurier was an adherent of the rightful king.

"Oh, of course!" said Henry.

"And do you belong to any secret society?" asked the little man.

Henry couldn't say that he did.

"Well, you must join us!" he said.

"I suppose there won't be a rising just yet?" asked Henry, realising that this was the Jacobite method.

"Not just yet," said the little man, rea.s.suringly. So Henry was enrolled.

And so it went on till past midnight, when Henry at last escaped, to talk it all over with the stars. The evening had naturally puzzled him, as a man will always be puzzled who has developed under the influence of the main tendencies of his generation, and who finds himself suddenly in a backwater of fanciful reaction. Henry, in his simple way, was a thinker and a radical, and he had nourished himself on the great main-road masters of English literature. He had followed the lead of modern philosophers and scientists, and had arrived at a mystical agnosticism,--the first step of which was to banish the dogmas of the church as old wives' tales. He considered that he had inherited the hard-won gains of the rationalists. But he came to London and found young men feebly playing with the fire of that Romanism which he regarded as at once the most childish and the most dangerous of all intellectual obsessions. In an age of great biologists and electricians, he came upon children prettily talking about fairies and the philosopher's stone. In one of the greatest ages of English poetry, he came to London to find young English poets falling on their knees to the metrical mathematicians of France. In the great age of democracy, a fool had come and asked him if he were not a supporter of the house of Stuart, a Jacobite of charades. But only once had he heard the name of Milton; it was the learned boy of fifteen who had quoted him,--a lifelong debt of grat.i.tude; and never once had he heard the voice of simple human feeling, nor heard one speak of beauty, simply, pa.s.sionately, with his heart in his mouth; nor of love with his heart upon his sleeve. Much cleverness, much learning, much charm, there had been, but he had missed the generous human impulse. No one seemed to be doing anything because he must. These were pleasant eddies, dainty with lilies and curiously starred water-gra.s.ses, but the great warm stream of English literature was not flowing here.

As he neared his hotel, he thought of his morning visit to Goldsmith's tomb, and ten-fold he repented the little half-sneer with which he had bought the flowers. In a boyish impulse, he rang the Temple bell, and found his way again to the lonely corner. His flowers were lying there in the moonlight, and again he read: "Here lies Oliver Goldsmith."

"Forgive me, Goldy," he murmured. "Well may men bring you flowers,--for you wrote, not as those yonder; you wrote for the human heart."