Chapter III: Part 3

Though Grizel was thus a little prejudiced against the captain, he had not been a day in the house when we began to feel the honor that his visit conferred on us. He was modest almost to the verge of shyness; but it was the modesty that is worn by a man who knows he can afford it. While Peterkin was there Rawlins had no need to boast, for Peterkin did the boasting for him. When, however, the captain exerted himself to talk, Peterkin was contented to retire into the shade and gaze at him. He would look at all of us from his seat in the background, and note how Rawlins was striking us. Peterkin's face as he gazed upon that of the captain went far beyond the rapture of a lover singing to his mistress's eyebrow. He fetched and carried for him, anticipated his wants as if Rawlins were an invalid, and bore his rebukes meekly. When Rawlins thought that Peterkin was speaking too much, he had merely to tell him to shut up, when Peterkin instantly collapsed. We noticed one great change in Peterkin. Formerly, when he came home for the holidays he had strongly objected to making what he called drawing-room calls, but all that was changed. Now he went from house to house, showing the captain off. "This is Rawlins," remained his favorite form of introduction. He is a boy who can never feel comfortable in a drawing-room, and so the visits were generally of short duration. They had to go because they were due in another house in a quarter of an hour, or he had promised to let Jemmy Clinker, who is our local cobbler and a great cricketer, see Rawlins. When a lady engaged the captain in conversation, Peterkin did not scruple to sign to her not to bother him too much; and if they were asked to call again, Peterkin said he couldn't promise. There was a remarkable thing the captain could do to a walking stick, which Peterkin wanted him to do everywhere. It consisted in lying flat on the floor and then raising yourself in an extraordinary way by means of the stick. I believe it is a very difficult feat, and the only time I saw our guest prevailed upon to perform it he looked rather apoplectic. Sometimes he would not do it, apparently because he was not certain whether it was a dignified proceeding. He found it very hard, nevertheless, to resist the temptation, and it was the glory of Peterkin to see him yield to it. From certain noises heard in Peterkin's bedroom it is believed that he is practicing the feat himself.

Peterkin, you must be told, is an affectionate boy, and almost demonstrative to his relatives if no one is looking. He was consequently very anxious to know what the captain thought of us all, and brought us our testimonials as proudly as if they were medals awarded for saving life at sea. It is pleasant to me to know that I am the kind of governor Rawlins would have liked himself, had he required one. Peterkin's mother, however, is the captain's favorite. She pretended to take the young man's preference as a joke when her son informed her of it, but in reality I am sure she felt greatly relieved. If Rawlins had objected to us it would have put Peterkin in a very awkward position. As for Grizel, the captain thinks her a very nice little girl, but "for choice," he says (according to Peterkin) "give him a bigger woman." Grizel was greatly annoyed when he told her this, which much surprised him, for he thought it quite as much as she had any right to expect. On the whole, we were perhaps rather glad when Rawlins left, for it was somewhat trying to live up to him. Peterkin's mother, too, has discovered that her boy has become round-shouldered. It is believed that this is the result of a habit he acquired when in Rawlins's company of leaning forward to catch what people were saying about the captain.

THOUGHTFUL BOYS MAKE THOUGHTFUL MEN.

Urquhart is a boy who lives in fear that his friends and relations will send him the wrong birthday presents. Before his birthday came round this year, he dropped them pretty broad hints as to the kind of gift he would prefer, supposing they meant to remember the occasion. He worked his people differently, according to the relationship that existed between him and them. Thus to his mother he simply wrote, "A fishing-rod is what I want;" but to an uncle, from whom there was only the possibility of the present, he said, "By the way, next Monday week is my birthday, and my mother is going to send me a fishing-rod. Wouldn't it be jolly rot if any other body sent me a fishing-rod?--Your affectionate and studious nephew, Thomas Urquhart." To an elderly lady, with whom he had once spent part of his summer holiday, he wrote, "By-the-bye" (he always came to the point with by-the-bye), "next Monday week is my birthday. I am wondering if anybody will send me a cake like the ones you bake so beautifully."

That lady should, of course, figuratively have punched Urquhart's head, but his communication charmed her. She did not, however, send him a cake. He had a letter from her in a few days, in which, without referring to his insinuating remarks about his birthday and her cakes, she expressed a hope that he was working hard. Urquhart thought this very promising, and sent a reply that undid him. "I am sweating," he said, "no end; and I think there is no pleasure like perusing books. When the other chaps go away to play, I stay at the school and peruse books." After that Urquhart counted the old lady among his certainties, and so she was, after a manner. On his birthday he received a gift from her, and also a letter, in which she said that her original intention had been to send him a cake. "But your nice letter," she went on, "in which you say you are fond of reading, reminds me that you are getting to be a big boy, so I send you a book instead," Urquhart anxiously undid the brown paper in which the book was wrapped. It was a volume of mild biographies, entitled, "Thoughtful Boys Make Thoughtful Men."

From its first appearance among us, this book caused a certain amount of ill-feeling. I learned by accident that Urquhart, on the strength of the lady's letter, had stated for a fact to his comrades that she was going to send him a cake. He had also taken Fleming Secundus to a pastry-cook's in the vicinity of the school, and asked him to turn his eyes upon a cake which had the place of honor in the centre of the window. Secundus admitted with a sigh that it was a beauty. Without comment Urquhart led him to our local confectioner's, and pointed out another cake. Secundus again passed favorable criticism, the words he used, I have reason to believe, being "Oh, Crikey!" By this time Urquhart had exhausted the shops of an interesting kind in our neighborhood, and he and his companion returned to the school. For a time Urquhart said nothing, but at last he broke the silence. "You saw yon two cakes?" he asked Secundus, who replied, with a smack of the lips, in the affirmative. "Then let me tell you," said Urquhart, solemnly, "that the two of them rolled together don't come within five miles of the cake I'm to get on my birthday." Tremendous news like this spreads through a school like smoke, and Urquhart was courted as he had never been before. One of the most pitiful cases of toadyism known to me was witnessed that very day in the foot-ball field. I was playing in a school match on the same side as Urquhart and a boy called Cocky Jones by his associates because of his sublime impertinence to his master. While Urquhart was playing his shoelace became loosened, and he stooped to tie it. "I say, Urquhart," cried Cocky, "let me do that for you!" It will thus be seen, taking one thing with another, that Urquhart's confidence in the old lady had raised high hopes. "Is this the day Urquhart gets his cake?" the "fellows" asked each other. Consider their indignation when he got, instead, "Thoughtful Boys Make Thoughtful Men." Secundus refused to speak to him; Williamson, Green, Robbins, Tosh and others scowled as if he had stolen their cake; Cocky Jones kicked him and bolted.

The boy who felt the disappointment most was, however, Urquhart himself. He has never been a shining light in his classes, but that day he stumbled over the Latin grammar at every step. From nine to ten he was quiet and sullen, like one felled by the blow. It is, I believe, notorious that in a fair fight Cocky Jones could not stand up before Urquhart for a moment; yet, when Cocky kicked, Urquhart did not pursue him. Between ten and eleven, Urquhart had a cynical countenance, which implied that his faith in humanity was gone. By twelve he looked fierce, as if he meant to write his benefactress, and give her a piece of his mind. I saw him during the dinner-hour in hot controversy with Green and Tosh, who were evidently saying that he had deceived them. From this time he was pugnacious, like one determined to have it out with somebody, and as he can use his fists, this mood made his companions more respectful. Fleming Secundus is his particular chum, and after the first bitterness of disappointment, Secundus returned to his allegiance. He offered to mark Cocky Jones' face, I fancy, for I saw him in full pursuit of Cocky in the playground. Having made it up, he and Urquhart then discussed the matter calmly in a corner. They had several schemes before them. One was to send the book back, saying that Urquhart had already a copy of it.

"But, I haven't," said Urquhart.

"Williamson has read it, though," said Secundus, as if that was much the same thing.

"But though we did send it back," Urquhart remonstrated, "the chances are that she would send me another book in its place."

His faith, you see, had quite gone.

"You could tell her you had got such a lot of books that you would prefer a cake for a change?"

Urquhart said that would be putting it too plain.

"Well, then," said Secundus, "even though she did send you another book, it would perhaps be a better one than that. Tell her to send 'The Boy Crusoes.' I haven't read it."

"I have, though," said Urquhart.

"Well, she could send 'The Prairie Hunters.'"

"She's not the kind," said Urquhart. "It's always these improving books she buys."

Ultimately the two boys agreed upon a line of action which was hardly what the reader might expect. Urquhart wrote letters of thanks to all those who had remembered his birthday, and to the old lady the letter which passed through my hands read as follows:

"DEAR MISS ----:

I sit down to thank you very faithfully for your favor, namely, the
book entitled 'Thoughtful Boys Make Thoughtful Men.' It is a jolly
book, and I like it no end better than a cake, which would soon be
ate up, and then nothing to show for it. I am reading your
beautiful present regular, and hoping it will make me a thoughtful
boy so as I may be a thoughtful man, no more at present,

I am, Dear Miss ----,
Your very sincere friend,

THOMAS URQUHART."

Our boys generally end up their letters in some such way as that, it being a method of making their epistles cover a little more paper. As I feared, Urquhart's letter was merely diplomatic. He had not come round to the opinion that after all a book was better than the cake, but he had seen the point of Fleming's sudden suggestion, that the best plan would be to "keep in" with his benefactress. Secundus had shown that if Miss M---- was bothered about this year's present, she would be less likely to send anything next year, and this sank into Urquhart's mind. Hence the tone of his letter of thanks.

It remains to follow the inglorious career of this copy of "Thoughtful Boys make Thoughtful Men." First, Urquhart was openly contemptuous of it, and there seemed a probability of its only being used as a missile. Soon, however, he dropped hints that it was a deeply interesting story, following these hints up with the remark that he was open to offers. He and Fleming Secundus had quite a tiff about it, though they are again good friends. Secundus, it appears, had gone the length of saying that it was worth a shilling, and had taken it to his bed to make sure of this. Urquhart considered it as good as bought, but Secundus returned it to him next day. Examination of the book roused the suspicions of Urquhart, who charged Secundus with having read it by peeping between the pages, which, to enhance its commercial value, had remained uncut. This Secundus denied, but he had left the mark of his thumb on it. Eventually the book was purchased by Cocky Jones, but not without a row. Cocky went up to Urquhart one day and held out a shilling, saying that he would give it for "Thoughtful Boys Make Thoughtful Men." The owner wanted to take the shilling at once, and give up the book later in the day, but Cocky insisted on its being put into his hands immediately. That Jones should be anxious to become the possessor of an improving book surprised Urquhart, but in his haste to make sure of the shilling, he handed over "Thoughtful Boys Make Thoughtful Men." Within an hour of the striking of this bargain a rumor reached Urquhart's ears that Cocky had resold the work for one and sixpence. Inquiries were instituted, which led to a discovery. At our school there is a youth called Dicky Jenkinson, who, though not exactly a thoughtful boy, has occasional aspirations in that direction. Being for the moment wealthy, Jenkinson had remarked, in the presence of Cocky, that one and sixpence would not be too much to give for Urquhart's copy of "Thoughtful Boys Make Thoughtful Men." Feeling his way cautiously, Cocky asked whether he meant that the book would be cheap at one and sixpence to anybody who wanted it, or whether he (Dicky) was willing and able to expend that sum on it. Thus brought to bay, Jenkinson solemnly declared that he meant to make Urquhart an offer that very day. Cocky made off to think this matter over, for he was aware that the book had been already offered to Fleming Secundus for a shilling. He saw that by taking prompt action he might clear sixpence before bedtime. Unfortunately, he was not able to buy the book from Urquhart, for he was destitute of means, and he knew it would be mere folly to ask Urquhart for credit. In these painful circumstances he took Robbins into his confidence. At first he merely asked Robbins to lend him a shilling, and Robbins merely replied that he would do no such thing. To show that the money would be returned promptly, Cocky then made a clean breast of it, after which Robbins was ready to lend him an ear. Robbins, however, stipulated that he should get half of the spoils.

Cocky, as has been seen, got the book from Urquhart, but when it came to the point, Jenkinson was reluctant to part with the one and sixpence. In this extremity Cocky appealed to Robbins, who at once got hold of Dicky and threatened to slaughter him if he did not keep to his bargain. Thus frightened, Jenkinson bought the book.

On hearing of this, Urquhart considered that he had been swindled, and set off in quest of Cocky. That boy was not to be found, however, until his threepence had disappeared in tarts. I got to know of this affair through Robbins' backing up of Cocky, and telling Urquhart that nobody was afraid of him. A ring was immediately formed round Urquhart and Robbins, which I had the pleasure of breaking up.

Since I sat down to write the adventures of "Thoughtful Boys Make Thoughtful Men," I have looked through the book. Jenkinson read several chapters of it, and then offered it for next to nothing to anybody who had a fancy for being thoughtful. As no bidder was forthcoming, he in the end lost heart and presented it to the school library. A gentleman who visited us lately, and looked through the library, picked it up, and said that he was delighted to observe that the boys kept their books so clean. Yet not so long ago he was a boy at our school himself.

IT.

As they were my friends, I don't care to say how it came about that I had this strange and, I believe unique, experience. They considered it a practical joke, though it nearly unhinged my reason. Suffice it that last Wednesday, when I called on them at their new house, I was taken up stairs and shown into a large room with a pictorial wall paper. There was a pop-gun on the table and a horse with three legs on the floor. In a moment it flashed through my mind that I must be in a nursery. I started back, and then, with a sinking at the heart, I heard the key turn in the lock. From the corner came a strange uncanny moan. Slowly I forced my head round and looked, and a lump rose in my throat, and I realized that I was alone with It.

I cannot say how long I stood there motionless. As soon as I came to myself I realized that my only chance was to keep quiet. I tried to think. The probability was that they were not far away, and if they heard nothing for a quarter of an hour or so they might open the door and let me out. So I stood still, with my eyes riveted on the thing where It lay. It did not cry out again, and I hoped against hope that It had not seen me. As I became accustomed to the room I heard It breathing quite like a human being. This reassured me to some extent, for I saw that It must be asleep. The question was--Might not the sleep be disturbed at any moment, and in that case, what should I do? I remembered the story of the man who met a wild beast in the jungle and subjugated it by the power of the human eye. I thought I would try that. All the time I kept glaring at It's lair (for I could not distinguish itself), and the two things mixed themselves up in my mind till I thought I was trying the experiment at that moment. Next it struck me that the whole thing was perhaps a mistake. The servant had merely shown me into the wrong room. Yes; but why had the door been locked? After all, was I sure that it was locked? I crept closer to the door, and with my eyes still fixed on the corner, put my hand gently--oh, so gently!--on the handle. Softly I turned it round. I felt like a burglar. The door would not open. Losing all self-control, I shook it; and then again came that unnatural cry. I stood as if turned to stone, still clutching the door handle, lest it should squeak if I let it go. Then I listened for the breathing. In a few moments I heard It. Before It had horrified me; now It was like sweet music, and I resumed breathing myself. I kept close to the wall, ready for anything; and then I had a strange notion. As It was asleep, why should I not creep forward and have a look at It? I yielded to this impulse.

Of course I had often seen Them before, but always with some responsible person present, and never such a young one. I thought It would be done up in clothes, but no, It lay loose, and without much on. I saw Its hands and arms, and It had hair. It was sound asleep to all appearances, but there was a queer smile upon Its face that I did not like. It crossed my mind that It might be only shamming, so I looked away and then turned sharply around to catch It. The smile was still there, but It moved one of Its hands in a suspicious way. The more I looked the more uncomfortable did that smile make me. There was something saturnine about It, and It kept it up too long. I felt in my pocket hurriedly for my watch, in case It should wake; but, with my usual ill-luck, I had left it at the watchmaker's. If It had been older I should not have minded so much, for I would have kept on asking what Its name was. But this was such a very young one that It could not even have a name yet. Presently I began to feel that It was lying too quietly. It is not Their nature to be quiet for any length of time, and, for aught I knew, this one might be ill. I believe I should have felt relieved if It had cried out again. After thinking it over for some time I touched It to see if It would move. It drew up one leg and pushed out a hand. Then I bit my lips at my folly, for there was no saying what It might do next. I got behind the curtain, and watched It anxiously through a chink. Except that the smile became wickeder than ever, nothing happened. I was wondering whether I should not risk pinching It, so as to make It scream and bring somebody, when I heard an awful sound. Though I am only twenty, I have had considerable experience of life, and I can safely say that I never heard such a chuckle. It had wakened up and was laughing.

I gazed at It from behind the curtain; Its eyes were wide open, and you could see quite well that It was reflecting what It ought to do next. As long as It did not come out I felt safe, for It could not see me. Something funny seemed to strike It, and It laughed heartily. After a time It tried to sit up. Fortunately Its head was so heavy that It always lost its balance just as It seemed on the point of succeeding. When It saw that It could not rise, It reflected again, and then all of a sudden It put Its fist into Its mouth. I gazed in horror; soon only the wrist was to be seen, and I saw that It would choke in another minute. Just for a second I thought that I would let It do as It liked. Then I cried out, "Don't do that!" and came out from behind the curtain. Slowly It moved Its fist and there we were, looking at each other.

I retreated to the door, but It followed me with Its eyes. It had not had time to scream yet, and I glared at It to imply that I would stand no nonsense. But, difficult though this may be to believe, It didn't scream when It had the chance. It chuckled instead and made signs for me to come nearer. This was even more alarming than my worst fears. I shook my head and then my fist at It, but It only laughed the more. In the end I got so fearful that I went down on my hands and knees, to get out of Its sight. Then It began to scream. However, I did not get up. When they opened the door they say I was beneath the table, and no wonder. But I certainly was astonished to discover that I had only been alone with It for seven minutes.

TO THE INFLUENZA.

The time has come for you to leave this house. Seventeen days ago you foisted yourself upon me, and since then we have been together night and day. You were unwelcome and uninvited, and you made yourself intensely disagreeable. We wrestled, you and I, but you attacked me unawares in the back, and you threw me. Then, like the ungenerous foe that you are, you struck me while I was down. However, your designs have failed. I struggle to my feet and order you to withdraw. Nay, withdraw is too polite a word. Your cab is at the door; get out. But, stop, a word with you before you go.

Most of your hosts, I fancy, run you out of their houses without first saying what they think of you. Their one desire is to be rid of you. Perhaps they are afraid to denounce you to your face. I want, however, to tell you that I have been looking forward to this moment ever since you put me to bed. I said little while I was there, but I thought a good deal, and most of my thoughts were of you. You fancied yourself invisible, but I saw you glaring at me, and I clenched my fists beneath the blankets. I could paint your portrait. You are very tall and stout, with a black beard, and a cruel, unsteady eye, and you have a way of crackling your fingers while you exult in your power. I used to lie watching you as you lolled in my cane-chair. At first it was empty, but I felt that you were in it, and gradually you took shape. I could hear your fingers crackling, and the chair creak as you moved in it. If I sat up in fear, you disappeared, but as soon as I lay back, there you were again. I know now that in a sense you were a creature of my imagination. I have discovered something more. I know why you seemed tall and stout and bearded, and why I heard your fingers crackling.

Fever--one of your dastard weapons--was no doubt what set me drawing portraits, but why did I see you a big man with a black beard? Because long ago, when the world was young, I had a schoolmaster of that appearance. He crackled his fingers too. I had forgotten him utterly. He had gone from me with the love of climbing for crows' nests--which I once thought would never die--but during some of these seventeen days of thirty-six hours each I suppose I have been a boy again. Yet I had many schoolmasters, all sure at first that they could make something of me, all doleful when they found that I had conscientious scruples against learning. Why do I merge you into him of the crackling fingers? I know. It is because in mediaeval times I hated him as I hate you. No others have I loathed with any intensity, but he alone of my masters refused to be reconciled to my favorite method of study, which consisted, I remember (without shame) in glancing at my tasks, as I hopped and skipped to school. Sometimes I hopped and skipped, but did not arrive at school in time to take solid part in lessons, and this grieved the soul of him who wanted to be my instructor. So we differed, as Gladstonian and Conservative on the result of the Parnell Commission, and my teacher, being in office, troubled me not a little. I confess I hated him, and while I sat glumly in his room, whence the better boys had retired, much solace I found in wondering how I would slay him, supposing I had a loaded pistol, a sword, and a hatchet, and he had only one life. I schemed to be a dark, morose pirate of fourteen, so that I might capture him, even at his black-board, and make him walk the plank. I was Judge Lynch, and he was the man at the end of the rope. I charged upon him on horseback, and cut him down. I challenged him to single combat, and then I was Ivanhoe. I even found pleasure in conceiving myself shouting "Crackle-fingers" after him, and then bolting round a corner. You must see now why I pictured you heavy, and dark, and bearded. You are the schoolmaster of my later years. I lay in bed and gloried in the thought that presently I would be up, and fall upon you like a body of cavalry.

What did you think of my doctor? You need not answer, for I know that you disliked him. You and I were foes, and I was getting the worst of it when he walked in and separated the combatants. His entrance was pleasant to me. He showed a contempt for you that perhaps he did not feel, and he used to take your chair. There were days when I wondered at his audacity in doing that, but I liked it, too, and by and by I may tell him why I often asked him to sit there. He was your doctor as well as mine, and every time he said that I was a little better, I knew he meant that you were a little weaker. You knew it, too, for I saw you scowling after he had gone. My doctor is also my friend, and so, when I am well, I say things against him behind his back. Then I see his weaknesses and smile comfortably at them with his other friends--whom I also discuss with him. But while you had me down he was another man. He became, as it were, a foot taller, and I felt that he alone of men had anything to say that was worth listening to. Other friends came to look curiously at me and talk of politics, or Stanley, or on other frivolous topics, but he spoke of my case, which was the great affair. I was not, in my own mind, a patient for whom he was merely doing his best; I was entirely in his hands. I was a business, and it rested with him whether I was to be wound up or carried on as usual. I daresay I tried to be pleasant to him--which is not my way--took his prescriptions as if I rather enjoyed them, and held his thermometer in my mouth as though it were a new kind of pipe. This was diplomacy. I have no real pleasure in being fed with a spoon, nor do I intend in the future to smoke thermometers. But I knew that I must pander to my doctor's weakness if he was to take my side against you. Now that I am able to snap my fingers at you I am looking forward to sneering once more at him. Just at this moment, however, I would prefer to lay a sword flat upon his shoulders, and say gratefully, "Arise, Sir James." He has altered the faces of the various visitors who whispered to each other in my presence, and nodded at me and said aloud that I would soon be right again, and then said something else on the other side of the door. He has opened my windows and set the sparrows a-chirping again, and he has turned on the sunshine. Lastly, he has enabled me to call your cab. I am done. Get out.

FOUR-IN-HAND NOVELISTS.

The following is a word-puzzle. It narrates the adventures of a four-in-hand novelist while trying to lose his reputation. Competitors do not require to be told that a four-in-hand novelist is a writer of fiction who keeps four serial tales running abreast in the magazines. The names of specimen four-in-hand novelists will recur readily to every one. The puzzle is to discover who this particular novelist is; the description, as will be observed, answering to quite a number of them.

* * * * *

A few years ago, if any one in Fleet street had said that the day would come when I would devote my time to trying to lose my reputation, I would have smiled incredulously. That was before I had a reputation. To be as statistical as time will allow--for before I go to bed I have seven and a half yards of fiction to write--it took me fifteen years' hard work to acquire a reputation. For two years after that I worked as diligently to retain it, not being quite certain whether it was really there, and for the last five years I have done my best to get rid of it. Mr. R. L. Stevenson has a story of a dynamiter who tried in vain to leave an infernal machine anywhere. It was always returned to him as soon as he dropped it, or just as he was making off. My reputation is as difficult to lose. I have not given up the attempt yet, but I am already of opinion that it is even harder to lose a reputation in letters than to make one. My colleagues will bear me out in this.

If I recollect aright--for I have published so much that my works are now rather mixed up in my mind, and I have no time to verify anything--the first place I thought to leave my reputation in was a volume of pot-boilers, which I wrote many years ago for an obscure publication. At that time I was working hard for a reputation elsewhere, and these short stories were only scribbled off for a livelihood. My publisher heard of them recently, and offered me a hundred pounds for liberty to republish them in book form. I pointed out to him that they were very poor stuff, but he said that that had nothing to do with it; I had a reputation now, and they would sell. With certain misgivings--for I was not hardened yet--I accepted my publisher's terms, and the book was soon out. The first book I published, which was much the best thing I ever wrote, was only reviewed by three journals, of which two were provincial weeklies. They said it showed signs of haste, though every sentence in it was a labor. I sent copies of it to six or seven distinguished literary men--some of whom are four-in-hand now--and two of them acknowledged receipt of it, though neither said he had read it. My pot-boilers, however, had not been out many weeks before the first edition was exhausted. The book was reviewed everywhere, and, in nine cases out of ten, enthusiastically lauded. It showed a distinct advance on all my previous efforts. They were model stories of their kind. They showed a mature hand. The wit was sparkling. There were pages in the book that no one could read without emotion. In the old days I was paid for these stories at the rate of five shillings the thousand words; but they would make a reputation in themselves now. It has been thus all along. I drop my reputation into every book I write now, but there is no getting rid of it. The critics and the public return it to me, remarking that it grows bigger.

I tried to lose my reputation in several other books of the same kind, and always with the same result. Barnacles are nothing to a literary reputation. Then I tried driving four-in-hand. There are now only five or six of us who are four-in-hand novelists, but there are also four-in-hand essayists, four-in-hand critics, etc., and we all work on the same principle. Every one of us is trying to shake himself free of his reputation. We novelists have, perhaps, the best chance, for there are so few writers of fiction who have a reputation to lose that all the magazine editors come to us for a serial tale. Next year I expect to be six-in-hand, for the provincial weeklies want me as well as the magazines. Any mere outsider would say I was safe to get rid of my reputation this year, for I am almost beating the record in the effort. A novelist of repute, who did not want to lose his reputation, would not think of writing more than one story at a time, and he would take twelve months, at least, to do it. That is not my way. Hitherto, though I have been a member of the literary four-in-hand club, I have always been some way ahead with at least two of my tales before they begin to appear in serial form. You may give up the attempt to lose your reputation, however, if you do not set about it more thoroughly than that; and the four novels which I began in January in two English magazines, one American magazine, and an illustrated paper, were all commenced in the second week of December. (I had finished two novels in the last week of November.) My original plan was to take them day about, doing about four chapters of each a month; but to give my reputation a still better chance of absconding, I now write them at any time. Now-a-days I would never think of working out my plot beforehand. My thinking begins when I take up my pen to write, and ends when I lay it down, or even before that. In one of my stories this year I made my hero save the heroine from a burning house. Had I done that in the old days they would have ridiculed me, but now they say I reveal fresh talent in the delightful way in which I re-tell a story that has no doubt been told before. The beaten tracks, it is remarked, are the best to tread when the public has such a charming guide as myself. My second novel opens with a shipwreck, and I am nearly three chapters in getting my principal characters into the boats. In my first books I used to guard carefully against the introduction of material that did not advance the story, yet at that time I was charged with "padding." In this story of the shipwreck there is so much padding that I could blush--if I had not given all that up--to think of it. Instead of confining myself to my own characters, I describe all the passengers in the vessel--telling what they were like in appearance, and what was their occupation, and what they were doing there. Then, when the shipwreck comes, I drown them one by one. By one means or another, I contrive to get six chapters out of that shipwreck, which is followed by two chapters of agony in an open boat, which I treat as if it were a novelty in fiction, and that, again, leads up to a chapter on the uncertainty of life. Most flagrant padding of all is the conversation. It always takes my characters at least two pages to say anything. They approach the point in this fashion:

Tom walked excitedly into the room, in which Peter was awaiting him. The two men looked at each other.

"You wanted to see me," Tom said at last.

"Yes," said Peter slowly, "I wanted to see you."

Tom looked at the other uneasily.

"Why did you want to see me?" he asked after a pause.

"I shall tell you," replied Peter, pointing to a chair.

Tom sat down, and seemed about to speak. But he changed his mind. Peter looked at him curiously.

"Perhaps," Peter said at last, "you know my reasons for requesting an interview with you here?"

"I cannot say that I do," answered Tom.

There was another pause, during which the ticking of the clock could be distinctly heard.

"You have no idea?" inquired Peter.

"I have no idea," replied Tom.

"Do you remember," asked the older man, a little nervously, "that when old John Vansittart disappeared so suddenly from the Grange there were some persons who believed that he had been foully murdered?"

Tom passed his hand through his hair. "John Vansittart," he muttered to himself.

"The affair," continued Peter, "was never cleared up."

"It was never cleared up," said Tom. "But why," he added, "do you return to this subject?"

"You may well ask," said Peter, "why I return to it."

And so on. There is so much of this kind of thing in my recent novels that if all the lines of it were placed on end I daresay they would reach round the world. Yet I am never charged with padding now. My writing is said to be beautifully lucid. My shipwreck has made several intelligent critics ask if I have ever been a sailor, though I don't mind saying here, that like Douglas Jerrold, I only dote upon the sea from the beach. I have been to Dover, but no further, and you will find my shipwreck told (more briefly) in Marryatt. I dashed it off less than two months ago, but for the life of me I could not say whether my ship was scuttled, or went on fire, or sprang a leak. Henceforth I shall only refer to it as the shipwreck, and my memory will do all that is required of it if it prevents my mistaking the novel that contains the shipwreck. Even if I did that, however, I know from experience that my reputation would be as safe as the lives of my leading characters. I began my third novel, meaning to make my hero something of a coward, but though I worked him out after that patter for a time, I have changed my plan. He is to be peculiarly heroic henceforth. This will not lose me my reputation. It will be said of my hero that he is drawn with no ordinary skill, and that the author sees the two-sideness of every man's character. As for the fourth story, it is the second one over again, with the shipwreck omitted. One night when I did not have a chapter to write--a rare thing with me--I read over the first part of this fourth tale--another rare thing--and found it so slip-shod as to be ungrammatical. The second chapter is entirely taken up with a disquisition on bald heads, but the humor of it will be said to increase my reputation. Sometimes when I become despondent of ever losing my reputation, I think of taking a whole year to write one novel in, just to see what I really could do. I wonder whether the indulgent public would notice any difference? Perhaps I could not write carefully now if I tried. The small section of the public that guesses which of the four-in-hand writers I am may think for a moment that this story of how I tried in vain to lose my reputation will help me toward the goal. They are wrong, however. The public will stand anything from us now--or they would get something better.

RULES FOR CARVING.

_Rule I._--_It is not good form to climb onto the table._ There is no doubt a great temptation to this. When you are struggling with a duck, and he wobbles over just as you think you have him, you forget yourself. The common plan is not to leap upon the table all at once. This is the more usual process: The carver begins to carve sitting. By-and-by he is on his feet, and his brow is contracted. His face approaches the fowl, as if he wanted to inquire within about everything except that the duck is reluctant to yield any of its portions. One of his feet climbs onto his chair, then the other. His knees are now resting against the table, and, in his excitement, he, so to speak, flings himself upon the fowl. This brings us to

_Rule II._--_Carving should not be made a matter of brute force._ It ought from the outset to be kept in mind that you and the duck are not pitted against each other in mortal combat. Never wrestle with any dish whatever; in other words, keep your head, and if you find yourself becoming excited, stop and count a hundred. This will calm you, when you can begin again.

_Rule III._--_It will not assist you to call the fowl names._ This rule is most frequently broken by a gentleman carving for his own family circle. If there are other persons present, he generally manages to preserve a comparatively calm exterior, just as the felon on the scaffold does; but in privacy he breaks out in a storm of invective. If of a sarcastic turn of mind, he says that he has seen many a duck in his day, but never a duck like this. It is double-jointed. It is so tough that it might have come over to England with the Conqueror.

_Rule IV._--_Don't boast when it is all over._ You must not call the attention of the company to the fact that you have succeeded. Don't exclaim exultingly, "I knew I would manage it," or "I never yet knew a duck that I couldn't conquer somehow." Don't exclaim in a loud gratified voice how you did it, nor demonstrate your way of doing it by pointing to the _debris_ with the carving knife. Don't even be mock-modest, and tell everybody that carving is the simplest thing in the world. Don't wipe your face repeatedly with your napkin, as if you were in a state of perspiration, nor talk excitedly, as if your success had gone to your head. Don't ask your neighbors what they think of your carving. Your great object is to convince them that you look upon carving as the merest bagatelle, as something that you do every day and rather enjoy.

ON RUNNING AFTER A HAT.

Some don't run. They pretend to smile when they see their hat borne along on the breeze, and glance at the laughing faces around in a way implying, "Yes, it is funny, and I enjoy the joke, although the hat is mine." Nobody believes you, but if this does you good, you should do it. You don't attempt to catch your hat as it were on the wing. You walk after it, smiling, as if you liked the joke the more you think of it, and confident that the hat will come to rest presently. You are not the sort of man to make a fuss over a hat. You won't give the hat the satisfaction of thinking that it can annoy you. Strange though it may seem, there are idiots who will join you in pursuit of the hat. One will hook it with a stick, and almost get it, only not quite. Another will manage to hit it hard with an umbrella. A third will get his foot into it or on it. This does not improve the hat, but it shows that there is a good deal of the milk of human kindness flowing in the street as well as water, and is perhaps pleasant to think of afterwards. Several times you almost have the hat in your possession. It lies motionless, just where it has dropped after coming in contact with a hansom. Were you to make a sudden rush at it you could have it, but we have agreed that you are not that sort of man. You walk forward, stoop, and----. One reads how the explorer thinks he has shot a buffalo dead, and advances to put his foot proudly on the carcass, how the buffalo then rises, and how the explorer then rises also. I have never seen an explorer running after his hat (though I should like to), but your experience is similar to his with the buffalo. As your hand approaches the hat, the latter turns over like a giant refreshed, and waddles out of your reach. Once more your hand is within an inch of it, when it makes off again. There are ringing cheers from the audience on the pavement, some of them meant for the hat, and the others as an encouragement to you. Before you get your hat you have begun to realize what deer-stalking is, and how important a factor is the wind.