Chapter 9

For the sake of posterity, if not for my own, I would have been wiser on Thursday nights to think less of my next morning's article than of his inventions. As it is, I retain merely a general impression and an occasional detail of his talk. I am glad I remember, for one thing, his unfailing prejudice in favour of his friends, so amiable was the side of his character it revealed--though it revealed also his weakness as critic. He had a positive genius for veiling prosaic facts with romance where the people he liked were concerned. How often have we laughed at his amiability to a painter of the commonplace who had happened to be his fellow-student in Paris, whose work, as a consequence, his friendly imagination filled with the fine things that to us were conspicuously missing, and whose name he dragged into every criticism he wrote, even into his Monograph on Velasquez, nor could he be laughed, or argued out of it.

And I am glad I remember another trick of his imagination, though it was like to end in disaster for us all, so equally characteristic was it of his genius in weaving romance from prose. He was talking one evening of wine, upon which he had large--Continental--ideas, declaring he would not have it in his house unless all his family, including the servants, could drink it without stint and also without thought of expense--though, if I am not mistaken, his household staff consisted chiefly of a decent old Scotchwoman who would have scorned wine as a device of the foreigner. The triumphant ring of his voice is still in my ears as he announced that he had found a merchant who could provide him with just the wine he wanted, good, pure, light, white or red, an ordinary brand for sevenpence a bottle, a superior brand for eightpence.

The marvel of it all was that we believed in that wine and when the company left for home, the merchant's address was in almost everybody's pocket. It was not a bad wine in the sample bottles J. and I received a day or two later, nothing much to boast of, but harmless. For the further cheapness promised we next ordered it by the case, one of red and one of white--a rare bargain we thought. But in the end it was the most expensive wine it has ever been our misfortune to invest in. For when it came in cases it was so potent that nobody could drink as much as a glass without going to sleep. I never had it analyzed, but, after a couple of bottles, I did not dare to put it on the table again, or to use it even for cooking or as vinegar. To balance our accounts, we did without wine of any kind, or at any price, for many a week to come. But we had our revenge. In the course of a few months Bob's wine merchant was summoned before the magistrate for manufacturing Bordeaux and Burgundies out of Greek currants and more reprehensible materials in the backyard of his unpretending riverside house, and it was one of our Thursday night fellow victims who had the pleasure of exposing him in the _Daily Chronicle_. Bob did not share our resentment. He had his pleasure in the charm his imagination gave to every drop of the few bottles he drank and managed not to die of.

I began to notice in the galleries and on Thursday nights that Bob became more and more engrossed in the question of his health and quicker to fly at a sniff or a sneeze. The time came when no persuasion could bring him home with me. He described symptoms rather than pictures, his interest in anything in the shape of paint weakened. I fancied that he was romancing, that he was playing the hypochondriac as part of his rôle of middle-age, and I thought it a pity. It might provide a new entertainment for him, but it deprived us of the entertainment of his company. Then I hardly met him at all, or if I did he was too nervous to linger before each painting or drawing, to gossip about it and everything under the sun. He would walk through the galleries with one leg dragging a little--the visible sign, I would say to myself, amused to see that he could turn romance into reality as easily as reality into romance. He would start for Kew right off, without any loitering, without any delicious pretending that he was going in the very next train and then not going until the very next train meant the very next day. But before long I learned that there was no romance about it, that it was grim reality, the grimmer to me because I had taken it so lightly. His illness was mere rumour at first, for few people went to his house in far Kew to see him. It was more than rumour when he ceased altogether to appear in the galleries, for we knew he was dependent upon art criticism for his butter, if not for most of his bread. I had not got as far as belief in his illness before the news came that he had set out upon the greatest adventure of all and that no more would Buckingham Street be transfigured in the light of his romancing, glorified by his inexhaustible fancy. I owed him much: the charm of the personality of "this delightful and wonderful creature" in Henley's words of him, pleasure from his talk, stimulus from his criticism, and I wish I had had the common sense to do what I could to make him live as a pleasure and a stimulus to others. My mistake on our Thursday nights was to keep my cuff clean, my note-book empty.

V

In the case of Henry Harland my conscience makes me no such reproach. If ever a man became his own Boswell it was he, though I do not suppose anything was further from his mind when he sat down to write. But as he talked, so he wrote--he could not help himself--and all who have read the witty, gay, whimsical, fantastic talk of his heroes and heroines, especially in his last three books, have listened to him. He, no less than his Adrian Willes--even if quite another man was the model--never understood how it was possible for people to be bored. Flaubert once said in a letter, "Life is so hideous that the only way of enduring it is to avoid it." But Harland believed in plunging into it headlong and getting everything that is to be got out of it. He had eyes to see that "life is just one sequence of many-coloured astonishments", and the colours were the gayer when he came to our Thursday nights because he was still so young.

He and Mrs. Harland had been in London only a few years, his career as Sydney Luska was behind him, his career as Henry Harland was before him, he was full of life, energy, enthusiasm, deep in long novels, busy for the _Daily Chronicle_, writing as hard as he talked, and he talked every bit as hard as Bob Stevenson.

Like Bob, he seemed to love talk more than anything, but he must have loved work as Bob never loved it, for he put the quality of his talk into what he wrote. Bob Stevenson's writing never suggested his talk. I might find his point of view and his amiable prejudices in his criticism and his books--only he could have written his _Velasquez_ quite as he wrote it--but nowhere do I find a touch, a trace of the Lantern-Bearer or Prince Florizel or the Young Man with the Cream Tarts. But I never get far away from Harland in his novels. I re-read them a short time ago, and they were a magic carpet to bear me straight back to Buckingham Street, and the crowded, smoky rooms overlooking the river, and the old years when we were all young together.

A delightful thing about Harland was that he did not care to monopolize the talk, to talk everybody else down. On the contrary, I doubt if he was ever happier than when he roused, provoked, stimulated everybody to talk with him. I remember in particular an evening when J. and I were dining with him and Mrs. Harland at their Kensington flat, and Mr. and Mrs. Edmund Gosse were there, and Mr. and Mrs. W.J. Fisher--Fisher was then editor of the _Daily Chronicle_ and Mrs. Fisher was still Adrienne Dayrolles on the stage--and Louis Austen, a handy man of journalism, and when, happening to turn for a minute from Harland by whom I was sitting, and to look round the table, I found I was the only one of the party not talking--and we had got no farther than the fish! But I flatter myself I have few rivals as an accomplished listener.

Often Harland had the floor to himself simply because everybody else wanted to listen too. When what he calls in one of his books "the restorative spirit of nonsense" descended upon him, his talk could whisk off the whole Thursday night crowd, before they knew it, to that delectable Land of Nonsense to which he was an inspired guide. Nobody understood better how to set up the absurd and the impossible in the garb of truth. An old admirer of his reminded me not long since of a tale he used to tell, almost with tears in his voice, of the _petit patissier_ who was hurrying through the streets of Paris to deliver _brioches_ and tarts to customers and who, crossing the Boulevards, was knocked down by a big three-horse omnibus. And as the crowd collected and the _sergent-de-ville_ arrived, he was seen painfully and deliberately freeing his one uninjured arm, feeling carefully in pocket after pocket, and, as he drew his last breath, holding up triumphantly the exact number of francs the Parisian on foot then had to pay for venturing rashly to get in the way of the Paris driver. And Harland told it all with such eloquence that it was some minutes before those who listened realised he was laughing and began to laugh with him. And the tale was typical of many others he loved to tell. As his talk led the way to the Land of Nonsense, so he himself could of a sudden whirl us all off to a restaurant, or a park, or an excursion we had not thought of an hour, a minute before. Many a time, instead of sitting solemnly at home reading or working as we had meant to, we would be going down the river in a penny steamboat, or drinking coffee at the _Café Royal_ or tea in Kensington Gardens--but Harland as an inspired guide was at his best in Paris I always thought, perhaps because in Paris he had so much larger scope than in London.

He impressed one as a man who never tired, or who never gave in to being tired, either at work or at play--a man who, knowing his days would be few on this earth, found each fair as it passed and, if he could not bid it stay, was at least determined to fill it as full as it would hold. There was no resisting his restless energy when with him, and it was because he could so little resist it himself, that he was continually seeking new outlets--new forms for its expression. He had just the temperament to take up with the mode of the Nineties that drove the Young Men to asserting themselves and upholding their doctrines in papers and magazines of their own. The pedant may trace the fashion back to the _Hobby-horse_ of the Eighties, or, in a further access of pedantry to the _Germ_ of the early Fifties. He may follow its growth as late as the _Blast_ of yesterday and _The Gypsy_ of to-day. But I do not have to go further than my book shelves, I have only to look and see there the _Dial_ and the _Yellow Book_ and the _Savoy_ and the _Butterfly_ and the _Pageant_ and the _Dome_ and the _Evergreen_, each with its special train of memories and associations, and I know better than the greatest pedant of them all that the fashion, no matter when it began, no matter when it may end, belongs as essentially to the Nineties as the fashion for the crinoline belongs to the Sixties. Harland was not original in wanting to set up a pulpit for himself--the originality was in the design for it. The _Yellow Book_ was not like any other quarterly from which any other young man or group did his preaching.

VI

Harland shared his pulpit. He would not have found the same design for it without Beardsley, nor would our Thursday nights, where a good deal of that design was thought out and talked out, have been the same without Beardsley. I would find it hard, even had there been no _Yellow Book_, not to remember Harland and Beardsley together. For it was from Mrs. Harland that we first heard of the wonderful youth, unknown still, an insignificant clerk in some Insurance Company, who made the most amazing drawings--it was she who first sent him to us that J. might look at his work and help him to escape from the office he hated and from the toils of Burne-Jones and the Kelmscott Press in which he was entangled.

He came, the first time, one afternoon in the winter dusk--a boy, tall and slight, long narrow pale clean-shaven face, hair parted in the middle and hanging over his forehead, nose prominent, eyes alight, certain himself of the worth of his drawings, too modest not to fear that other artists might not agree with him. The drawings in his little portfolio were mostly for the _Morte d' Arthur_, with one or two of those, now cherished by the collector, that have a hint of the Japanese under whose influence he momentarily passed. J. enjoys the reputation, which he deserves, of telling the truth always, no matter how unpleasant to those to whom he tells it. Truth to Beardsley was pleasant and his face was radiant when he left us. J. has also the courage of his convictions, and all he said to Beardsley he repeated promptly to the public in the first number of _The Studio_, a magazine started not as a pulpit but as a commercial enterprise--started, however, at the right moment to be kindled into life and steered toward success by the enthusiasm and the energy of the Young Men of the Nineties.

Beardsley was bound to become known whether articles were written about him or not. But J.'s was the first and made recognition come the sooner. The heads of many young men grow giddy with the first success; at the exultant top of the winding stair that leads to it, they no longer see those who gave them a hand when they balanced on the lowest rung. But Beardsley was not made that way. He kept his head cool, his eyesight clear. He never forgot. Gratitude coloured the friendship with us that followed, even in the days when he was one of the most talked about men in London. He knew that always by his work alone he would be judged at Buckingham Street, and to J. he brought his drawings and his books for criticism. He brought his schemes as well, just as he brought the youth not only of years but of temperament to our Thursday nights. He came almost as regularly as Henley and Henley's Young Men, adding his young voice to the uproar of discussion, as full of life as if he too, like Harland, grudged a minute of the years he knew for him were counted. In no other house where it was my pleasure to meet him did he seem to me to show to such advantage. In his own home I thought him overburdened by the scheme of decoration he had planned for it. In many houses to which he was asked he was amiable enough to assume the pose expected of him. The lion-hunters hoped that Beardsley would be like his drawings. Strange, decadent, morbid, bizarre, weird, were adjectives bestowed upon them, and he played up to the adjectives for the edification or mystification of the people who invented them and for his own infinite amusement. But with us he did not have to play up to anything and could be just the simple, natural youth he was--as simple and natural as I have always found the really great, more interested in his work than most young men, and keener for success.

I like to insist upon his simplicity because people now, who judge him by his drawings, would so much rather insist upon his perversity and his affectation. How can you reconcile that sort of thing with simplicity? They will ask, pointing to drawings of little mocking satyrs and twisted dwarfs and grotesques and extravagant forms and leering faces and a suggestion of one can hardly say what. But it might as well be asked why the mediæval artist delighted to carve homely, familiar scenes and incidents, and worse, in the holiest places, to lavish his ingenuity upon the demons and devils above the doors leading into his great churches; why a philosopher like Rabelais chose to express the wisest thought in the most indecent fooling; why every genius does not look out upon life and the world with the same eyes and find the same method to record what he sees. Some men can only marvel with Louis Stevenson at the wide contrast between the "prim obliterated polite face of life" and its "orgiastic foundations"; others are only reconciled to it by the humour in the contrast or by the pity invoked by its victims. What makes the genius is just the fact that he looks out upon life, that he feels, that he uses his eyes, in his own way; also, that he invents his own methods of expression. Beardsley saw the satire of life, he loved the grotesque which has so gone out of date in our matter-of-fact day that we almost forget what it means, and no doubt disease gave a morbid twist to his vision and imagination. But, above all, he was young, splendidly young: young when he began work, young when he finished work. He had the curiosity as to the world and everything in it that is the divine right of youth, and he had the gaiety, the exuberance, the flamboyancy, the fun of the youth destined to do and to triumph. Already, in his later work, are signs of the passing of the first youthful stage of his art. It is suggestive to contrast the conventional landscapes with the grinning little monstrosities in some of the illustrations for the _Rape of the Lock_; the few drawings for his _Volpone_ have a dignity he had not hitherto achieved.

Nobody can be surprised if some of the gaiety and exuberance and fun got no less into his manner towards the people whose habit is to shield their eyes with the spectacles of convention. Beardsley had a keen sense of humour that helped him to snatch all the joy there is in the old, time-honoured, youthful game of getting on the nerves of established respectability. Naturally, so Robert Ross, his friend, has said of him, "he possessed what is _called_ an artificial manner"; that is, his manner was called affected, as was his art, because it wasn't exactly like everybody else's. I have never yet come across the genius whose manner was exactly like everybody else's, and shyness, self-consciousness, counted for something in his, at least at the start. He had only to exaggerate this manner, or mannerism, to set London talking. It was the easier because rumours quickly began to go about of the darkened room in which he worked, of his turning night into day and day into night like Huysmans's hero, and of this or of that strange habit or taste, until people began to see all sorts of things in him that weren't there, just as they read all sorts of things into his drawings that he never put into them, always seeking what they were determined to find. To many there was uncanniness in the very extent of his knowledge, in his wide reading, in his mastery of more than one art, for, if he had not been an artist, he most assuredly would have been a musician or a writer. Added to all this, was the abnormal notice he attracted almost at once, the diligence with which he was imitated and parodied and the rapidity with which a Beardsley type leaped into fashion.

Of course Beardsley enjoyed it. What youth of his age would not have enjoyed the excitement of such a success? It would have been morbid at his age not to enjoy it. He never seemed to me more simply himself than when he was relating his adventures and laughing at them with all the fresh, gay laughter of the boy--the wonderful boy--he was. Arthur Symons wrote of him, I have forgotten where, that he admired himself enormously. I should say that he was amused by himself enormously and was quite ready to pose and to bewilder for the sake of the amusement it brought him. He was never spoiled nor misled by either his fame or his notoriety.

It was so Beardsley's habit to consult J. that he would have asked advice, if Harland had not, for _The Yellow Book_ which went through several stages of its preliminary planning in the old Buckingham Street chambers. Among the vivid memories of our Thursday nights one is of Harland taking J. apart for long, intimate discussions in a corner of the studio, and another of Beardsley taking him off for confidences as intimate and long, and my impression in looking back, though I may be mistaken, is that each had his personal little scheme for a journal of his own before he decided to share it with the other. It was characteristic of the friendliness of both that they should have insisted upon J. figuring in the first number. As vivid in my memory is the warm spring morning when Beardsley, his face beaming with joy, called to give me an early copy of this first number, with a little inscription from him on the fly-leaf--I have just taken down the volume from the near book shelf--"To Mrs. Pennell from Aubrey Beardsley" I read, as commonplace an inscription as ever artist or author wrote, but, reading it, I see as if it were yesterday the sunlit Buckingham Street room where I used to work, William Penn curled up on my desk, and, coming in the door, the radiant youth with the gay-covered book in his hands.