Chapter 6

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

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

But mother would not stop crying.

Shepherd's Boy

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

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

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

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

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

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

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

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

"What! is it a joke?"

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

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

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

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

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

The Passing of Edward

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

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

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

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

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

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

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

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

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

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

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

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

The restraint in her voice pained me like a blow.

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

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

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

"What is it?" I asked.

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

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

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

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

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

"Tell me how it happened," I said.

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

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

"Poor little chap!" I murmured.

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

"Did you cry?" I said cruelly.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Story Of A Book

I. THE WRITER

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

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

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

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

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

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

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

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

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

II. The Sleepy Publisher

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

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

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

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

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