Chapter 2

For all that, as they sit here in their extremely respectable blue serge suits, which still show the sharp creases where they were laid away in unskillful folds during the voyage, they give one an impression of lugubrious failure. It must be confessed that simple as the examinations are they are beyond the range of many of us. The habits of study are not easily retained during the long stretches of watch-keeping intermitted with hilarious trips ashore. We find a great difficulty in keeping our minds on the problems set down. Outside is a blue sky, the roar of traffic at the confluence of four great thoroughfares, and the call of London, a very siren among cities, when one knows! Over yonder, a cigarette in his mouth, his head on his hand and his elbow asprawl on the desk, making idle marks with a pencil, is a youth who is nursing a grievance against the government. He has been up eight times and failed every time. He is going up again with us next Tuesday. Yet, as it has been whispered to me during lunch hour by my neighbour, a robust individual just home from Rangoon, he is a first-class man; just the chap in a break-down; always on the job; fine record. There is another, between us and the sectional model of a feed pump valve, who never looks up, but figures unceasingly with elbows close to his sides, his toes turned in, the nape of an obstinate, close-cropped neck glistening pale gold and pink in the morning sun. Without having been to sea with this party or even having seen his face, one is aware that he will always be found with his pale eyes wide open when the light is flicked on at One Bell. He has been sometime in tramp-steamers, who carry no oilers, for there is a hard callous on the knuckle of his right forefinger where the oil-feeder handle has been chafing. Whether he would be a tower of strength in a smash-up is not so easily divined. Next to him a young gentleman is sitting sideways smoking, a pair of handsome cuff-buttons of Indian design flashing at his wrists. He is, my neighbour has informed me during lunch, from the P. & O. and he corroborates this by asking a question of the lecturer concerning a broken valve-spindle of enormous dimensions. He stands for class in our community and gives a certain tone to the group who go up on Tuesday. Unhappily he falls out on the second day, owing to certain defects in his arithmetic, and disappears. No doubt he has gone to another sea-port to try a less austere examiner.

And after lunch, the principal of Teague's School of Engineering suddenly emerges from his private office, hangs up a card labelled "_No Smoking during Lectures_" and proceeds to feed us with the irreducible minimum of information necessary for our ordeal. By long practice, astute contriving, and careful cross-examination of successful pupils he has arrived at such a pass that he seems to know more about the examiner's mind than that gentleman himself. He repeats slowly and deliberately the exact form of answer which is most likely to draw approval from the grand inquisitor, and we copy it down hastily in our notes. The sleeves of his grey frock-coat are pulled back to keep the chalk dust from soiling them as he rapidly sketches on the board for our edification. We listen with respect, for we know he has been through precisely the same mill as ourselves, he has come on watch at midnight with his mouth dry and his eyelids sagging and wishing in his heart he were dead. He has won out and now stands ready to show us the way. We listen to every word. The lecture is short, sharp, apposite, a model of all a lecture should be, stripped to the bare bones of fundamental truth, pared clean of every redundant word. As the clock strikes three he claps his hands to rid them of chalk, pauses for a moment to answer pertinent questions, and vanishes into his office once more.

Most of us go home.

The author now has an assignation with a lady, and the reader who has been patiently waiting for some sort of literary allusions in a preface to a volume of literary essays, is about to be gratified. The scene changes from the vulgar uproar of Aldgate to a flat in Chelsea. Hurrying through Houndsditch, across Leadenhall Street and up St. Mary Axe, the author discovers the right 'bus in Broad Street about to start. They are filling the radiator with water and the conductor is intoning a mysterious incantation which resolves itself into "_Benk! Oobun, Benk! Piccadilly, 'Yde Pawk, Sloon Stree', Sloon Square, Kings Road, Chelsea an' Walham Green. Here y' are, lidy._" With long practice he can make the vowels reverberate above the roar of the traffic. The words Benk and Pawk come from his diaphragm in sullen booms. To listen to him is a lesson in prosody. He enjoys doing it. He is an artist. He extracts the uttermost from his material, which is the mark of the supreme artist. He unbends when he comes up to collect the fares from the author and a lady who is probably returning to Turnham Green after a visit to her married daughter at Islington, and he leans over the author's shoulder to scan the racing news in the Stop Press Column, a courtesy as little likely to be withheld in London as a light for a cigarette in Alexandria. "Hm!" he murmurs, stoically. "Jes' fancy! An' I had 'im backed for a place, too. That's the larst money I lose on _that_ stable." He clatters down again and one hears his voice lifted once more as he rumbles: "_Benk--Ooborn Benk!_" with diaphragmatic intensity.

To know London from the top of a 'bus is no doubt a liberal education, but it may be questioned whether the tuition is as extensive and peculiar with a gasoline-driven vehicle as with the old horse-hauled affairs that took all day to jungle along from the North Pole Inn at Wormwood Scrubbs to the Mile End Road, or from the Angel at Islington to Roehampton. Almost before the author has digested a leading article dealing with the Venezuelan Question the 'bus roars down Sloan Street, shoots across the Square, and draws up just where a few people are already collecting by the pit-doors of the Court Theatre for the evening performance of "Man and Superman." This being the end of a stage, if the pleasantry may be pardoned, the author descends and walks onward to his destination, which is a flat down by the River.

There are certain thoroughfares in London which have always avoided any suspicion of respectable regularity either in their reputation or their architecture. The dead monotony of Woburn or Eaton Square, for example, the massive austerity of the Cromwell Road, and the cliff-like cornices of Victoria Street, are the antithesis of the extraordinary variety to be found in Park Lane, High Street Kensington, Maida Vale and Cheyne Walk. This last reveals, between Blantyre and Tite streets, the whole social order of England and the most disconcerting divarications of design. In it meet democracy, plutocracy, and aristocracy, artist and artisan, trade and tradition, philosophy and philistinism, publicans and publicists, connoisseurs and confidence men, sin and sincerity. It is not proposed to introduce the reader to the whole of this goodly company. The Balzac of Chelsea still tarries in obscurity. By some amazing oversight this street, which has sheltered more artists and authors than any other thoroughfare in the world, seems to have evaded their capture. Chelsea is a cosmos. Cheyne Walk is a world, a world abandoned by genius to the cheap purveyors of second-hand clap-trap and imitators of original minds.

Let us go upstairs.

Miss Flaherty is one of those women who appear from time to time in the newspaper world and who seem to embody in their own personalities the essential differences between journalism and literature. Their equipment is trivial and their industry colossal. In a literary sense they are so prolific that they do not beget; they spawn. They present a marvellous combination of unquenchable enthusiasm and slovenly inaccuracy. They needs must love the highest when they see it, but they are congenitally incapable of describing it correctly. Their conception of art consists of writing a book describing their own sexual impulses. This is frequently so ungrammatical and obscure that even publishers' readers balk at it, and it goes the rounds. In the meanwhile, they produce an incredible quantity of daily and weekly matter for the press. They wheedle commissions out of male editors by appealing to their sex, and write sprightly articles on Bachelor Girls and their Ideals, and the Economic Independence of the Married Woman. They become hysterically lachrymose, in print, over a romantic love affair, and relapse into sordid intrigues on the sly. They demand political power without intending for a single moment to assume political responsibility. Their days are about equally divided between catching a husband and achieving what they describe as "a scoop."

To all this Miss Flaherty adds an unusual faculty for spectacular antics. She has dressed in a red sweater and plied her trade, for a day, as a shoe-shine boy. She has dressed in a green cloak and sold shamrock on St. Patrick's day. She has dressed in rags and sung in the streets for charity. She has hired a van and ridden about the suburbs pretending to sell domestic articles. She has attended revival meetings and thrown herself in a spasm of ecstasy upon what she calls the mercy-seat. She has....

But the author is not absolutely sure whether she has ... after all. He is of the opinion that, like most English women, she has no talent for that sort of thing. Like most young women who babble of emancipation she has an unsuspected aptitude for domesticity. She makes tea far better than she writes articles. She is, under a ridiculous assumption of slangy modernity, oppressively conventional.

However, the author's immediate concern is not with Miss Flaherty's destiny at all, but with his manuscript which she has been XXXX commissioned to place with a publisher. A writer of dime novels, on being consulted as to the way to get a book published, said he didn't know, never having had a book to publish save in weekly serial numbers; and that, he hastened to observe, was quite another story. And then suddenly remarked, slapping his thigh and reaching for the makings of a fresh cigarette: "Why not try Imogene Flaherty? She's anxious to start in as author's agent." The author had no objections to raise beyond the fact that he disliked doing business with women and was afraid of anybody named Imogene. The dime-novelist shook his head and said women in business and journalism had come to stay. And seriously, Miss Flaherty might easily be of immense assistance to the author. "Very nice girl, too--h-m--hm!" This reminiscently. "Very decent little woman. Go and see her--take my card--down in Cheyne Walk. She had a flat down there near Church Street. H-m. Yes."

So it happened. And the result had been an explosion. Miss Flaherty had accepted the commission and had read the manuscript and had, in common parlance, gone up in the air. Her enthusiasm literally knew no bounds. She did not actually foam at the mouth, but she displayed all the symptoms of advanced literary hysteria. Now there is this to be said for the sea--it may not furnish one with universal judgments about women but it does provide the solitude and austere discipline which enable a man to coördinate his hitherto chaotic ideas about them. And women, if they only knew how they appear to the imagination of men on the rolling waters, would undoubtedly modify their own conceptions of life, and possibly profit by the change. Imogene, however, had no such moment of illumination. She lived in an enchanted world of imitation emotion and something in the author's manuscript had set her off, had appealed to her rudimentary notions of fine writing, and engendered a flame of enthusiasm. It is not too much to say that she believed in that manuscript much more than the author did. That is the correct attitude for a successful agent. Imogene did not "push" the book, as salesmen say, so much as herald it. She entered publishers' offices like a prophetess or one of the seraphim, panoplied in shining plumage, blinding the poor human eyes with beams of heavenly radiance, the marvellous manuscript, like a roll of lost gospels, held out before her. She blew a blast on her trumpet and the doors of the publishers' readers swung wide. No knowledge of English literature prevented her from uttering her solemn conviction that here was the greatest book since Geoffrey Chaucer laid down his pen. With intrepid resource she warned the hesitating publisher that he would have none save himself to blame if he missed this chance of immortalizing his house, and eventually a publisher was discovered who was willing to issue the book at the author's expense. All this, let it be said with regret, did not bring a blush to the author's sea-tanned cheek. On the contrary, he cherished a secret apprehension that Imogene had gone mad.

The one fly in the ointment at this juncture was the author's unmannerly attitude towards publishers who issued books at the writer's expense. He went so far as to characterize them as crooks and declined to have anything to do with them. He had been writing for a good many years of apprenticeship and had arrived at the conclusion that a man might get along in decent comfort all his life without publishing anything at all, if fate so ordered it; and the suggestion that he pay away his hoarded sea-wages just to have his name on a book, clouded a naturally sunny temper for some time.

Here, however, sitting at tea in the intensely artistic flat on the third floor over a grocery-store, and looking out upon the River and the warehouses of the Surrey Side, the author is rapturously apprised that the book is as good as sold. A publisher's reader, a representative of an important house, has declared that the book has distinction. This is a true record, in the main, and the author is obliged to confess, thirteen years later, that he fell for this. In his simplicity he thought it a fine thing to have distinction. And this is true. It is a fine thing, but the fineness of the bloom is soon licked off by the busy tongues of the Imogenes and their masculine counterparts. The author did not see this so clearly at the time. He felt as a cat feels when stroked. The patrons of distinction were also in a position to make a cash offer for the copyright. In those days, when fifty dollars a month was considered adequate remuneration for his services at sea, the author had modest notions about cash offers. He treated the matter in a sporting spirit and closed.

But it was not consummated in a word and with the gesture of signing one's name. Things are not done that way when dealing with Imogenes. One has to negotiate a continent of emotional hill-climbing and an ocean of talk. A sea-faring person, schooled to deal with men and things with an economy of effort, is moved to amazement before the spectacle of a "bachelor girl" in action. One assumes, of course, that she intends to remain a "bachelor girl." There is the solemn initiation into the ranks of her pals. Palship, as she calls it, is something quite different from friendship, and to a man of normal instincts this is an alarming proposition. It is certainly far more exhausting than an intrigue and far less interesting than a rationally controlled friendship with a person of the same sex. And here it is pertinent to put forward what the author conceives to be the fundamental trouble with the Imogenes of both sides of the Atlantic. It is pertinent because he was, at the time of writing this book, under the influence of a very potent and inspiring friendship for a man now dead, a friendship which moulded his ideas and inspired him to hammer out for himself a characteristic philosophy of life. And one of the most important determinations of that philosophy deals with the common errors concerning friendship and love. The mistake of the bachelor girl and her prototypes lies in their failure to recognize the principle of sex as universal. It is not so much that men and women cannot meet without the problem of sex arising between them as that no two human beings can have any interchange of thoughts at all without involving each other in a complex of which masculine and feminine are the opposite poles. The most fascinating of all friendships are those in which the protagonists alternate, each one, owing to freshly revealed depths or shallows in his character, assuming the masculine or feminine rôle. The Latin recognises this by instinct. Just as his nouns are always either masculine or feminine, so are his ideas. And his women, who have never heard of "bachelor girls" or "palship," have achieved with consummate skill all and more than the Imogenes have ever imagined. Any one who has ever enjoyed the friendship of such women will recall that subtle aroma of sex which informs the whole affair. The coarse-grained northerner is prone to attribute the abundant vitality, the exquisite graces of body and mind to a deftly concealed vampirism or sensuality. Nothing is further from the truth. If you can play up to it, if your emotions and instincts are under the control of a traditional and finely tempered will, a notable experience is yours. Friendship, in fact, is the divinity whose name must not be uttered or he will vanish. She will not inform you, as Imogene does, that you are not in love with her and she is not in love with you and therefore a palship is under way. On the contrary, she will never let you forget that love is a possibility always just out of sight, where it will always remain. She is economically independent because men cannot do without her. She has more rights than the Imogenes will gain in a thousand years; and she is, moreover, something that men would strive to preserve in a world-cataclysm, whereas no one would give Imogene a single panic thought.

Imogene, however, has no inkling of this. She is under the impression that she is one of the world's cosmic forces. In the rag-bag of her brain whence she fishes out the innumerable formless and gaudy-coloured pilferings from which she fashions her "special articles," she cherishes an extraordinary illusion that she is a sort of modern Hypatia. She says Aspasia, but that is only because she has confused Kingsley's heroine with Pericles' mistress. She talks of "mating with an affinity" of "influencing the lives of the men who do things." She is very worried about the men who do things. It is a proof of her conventional and Victorian mentality that she imagines men who do things are inspired to do them by women; whereas it is rather the other way round, the men who do things having to avoid the majority of women as they would _cholera morbus_, if they are ever to get anything done.

Springing up on the impulse of this thought the author makes his excuses to the assembled guests and descends the dark stairway to the street. To tell the truth, these glimpses into the society of literary folk do not inspire in his bosom any frantic anxiety to abandon his own way of life. He had a furtive and foolish notion that these people are of no importance whatever. These coteries, these at-homes, and flat philosophies are not the real thing. It sounds unsocial and unconventional, no doubt, but it is a question so far unsettled in the author's mind whether any genuine artist loves his fellows well enough to co-habit with them on a literary basis. For some mysterious reason the real men, the original living forces in literature, do not frequent the _salons_ of the Imogenes. They are more likely to be found in the private bars of taverns in the King's Road, or walking along lonely roads in Essex and Surrey. Indeed, they may be preoccupied with problems quite foreign to the immediate business of literary conversation. They may be building bridges, or sailing ships, or governing principalities. They are unrecognised for the most part. The fact is they are romantic, and it is the hall-mark of the true romantic to do what other men dream of, and say nothing about it.

The motives of the author, however, in deserting the flat in Chelsea, were not entirely due to dreams of lofty achievement, but to the stern necessity to read voraciously on the subject of Heat for his examination. And one of the dominating changes which he discovers in himself after the passage of thirteen years is a sad falling off in brain-power. He is no longer able to read voraciously on the subject of Heat and Heat-engines. His technical library remains packed with grim neatness in his cabin book-case. When his juniors bring problems involving a quadratic equation he is stricken with a horrible fear lest the answer won't come out. He looks through his old examination papers and echoes Swift's melancholy sigh "Gad! What a genius I had when I wrote all that!" Most professional men, one is bound to suppose, become aware at periods of the gradual ossification of their intellects. And it is not always easy to retain a full consciousness of the compensating advantages of seniority in the face of this positive degeneration. One begins to watch carefully for errors where one used to go pounding to a finish with a full-blooded rush. One has a feeling of being overtaken; the young people of the next decade can be heard not far behind, and they seem to be offensively successful in business, in friendship, and in love. One has ceased to be interesting to the women of thirty and the men of forty. The achievement of years shrinks to depressing dimensions, and the real test is on. One becomes uncomfortably aware of the shrewd poke of Degas that "any one can have talent at twenty-five. The great thing is to have talent at forty."

The reader is invited to assume, therefore, that the author, at twenty-five, was sufficiently talented and ambitious to read voraciously on Heat and a great many other subjects. That he did so he calls on Mrs. Honeyball to witness, since that lady was really concerned for his health and urged him not to work too hard "for fear of a break-down." There was never any danger of a break-down, however. London was outside that window with 1472 carved below it, and at the first warning of fatigue the author would take hat and stick and fare forth in search of recreation and adventure. He would apologize to Mrs. Honeyball and her friends gathered in the little room below, where they were discussing what Mr. Honeyball described as "Christian Work." Mr. Honeyball used to bring out this phrase with extraordinary vigour and emphasis, as though the very enunciation were a blow to the designs of Satan. The author heard, during a later voyage, that the Honeyballs did eventually give up the mundane job of supervising apartments and retired to a quiet sea-side town where they devoted themselves entirely to "Christian Work."