The Secret Glory/4, 2
II
Ambrose Meyrick's adventure was certainly of the fantastic order. His fame had long been established on a sure footing with his uncle and
with everybody else, and Mr. Horbury had congratulated him with genuine enthusiasm on his work in the examinations—the Summer term was drawing to a close. Mr. Horbury was Ambrose's trustee, and he made no difficulty about signing a really handsome cheque for his nephew's holiday expenses and outfit. "There," he said "you ought to be able to do pretty well on that. Where do you think of going?"
Ambrose said that he had thought of North Devon, of tramping over Exmoor, visiting the Doone country, and perhaps of working down to Dartmoor.
"You couldn't do better. You ought to try your hand at fishing: wonderful sport in some of those streams. It mightn't come off at first, but with your eye and sense of distance you'll soon make a fine angler. If you do have a turn at the trout, get hold of some local man and make him give you a wrinkle or two. It's no good getting your flies from town. Now, when I was fishing in Hampshire"
Mr. Horbury went on; but the devil of gaiety had already dictated a wonderful scheme to Ambrose, and that night he informed Nelly Foran that she must alter her plans; she was to come with him to France instead of spending a fortnight at Blackpool. He carried out this mad device with an ingenuity that poor Mr. Palmer would certainly have called "diabolical." In the first place, there was to be a week in London—for Nelly must have some clothes; and this week began as an experience of high delight. It was not devoid of terror, for masters might be abroad, and Ambrose did not wish to leave Lupton for some time. However, they neither saw nor were seen. Arriving at St. Pancras, the luggage was left in the station, and Ambrose, who had studied the map of London, stood for a while on the pavement outside Scott's great masterpiece of architecture and considered the situation with grave yet humorous deliberation. Nelly proved herself admirably worthy of the adventure; its monstrous audacity appealed to her, and she was in a state of perpetual subdued laughter for some days after their arrival. Meyrick looked about him and found that the Euston Road, being squalid and noisy, offered few attractions; and with sudden resolution he took the girl by the arm and steered into the heart of Bloomsbury. In this charmingly central and yet retired quarter they found rooms in a quiet byway which, oddly enough, looked on a green field; and under the pleasant style of Mr. and Mr. Lupton they partook of tea while the luggage was fetched by somebody—probably a husband—who came with a shock of red, untidy hair from the dark bowels of the basement. They screamed with mirth over the meal. Mr. Horbury had faults, but he kept a good table for himself, his boys and his servants; and the exotic, quaint flavour of the "bread" and "butter" seemed to these two young idiots exquisitely funny. And the queer, faint, close smell, too, of the whole house—it rushed out at one when the hall door was opened: it was heavy, and worth its weight in gold.
"I never know," Ambrose used to say afterwards, "whether to laugh or cry when I have been away for some time from town, and come back and smell that wonderful old London aroma. I don't believe it's so strong or so rare as it used to be; I have been disappointed once or twice in houses in quite shabby streets. It was there, of course, but—well, if it were a vintage wine I should say it was a second growth of a very poor year—Margaux, no doubt, but a Margaux of one of those very indifferent years in the early 'seventies. Or it may be like the smell of grease-paints; one doesn't notice it after a month or two. But I don't think it is.
"Still," he would go on, "I value what I can smell of it. It brings back to me that afternoon, that hot, choking afternoon of ever so many years ago. It was really tremendously hot—ninety-two degrees, I think I saw in the paper the next day—and when we got out at St. Pancras the wind came at one like a furnace blast. There was no sun visible; the sky was bleary—a sort of sickly, smoky yellow, and the burning wind came in gusts, and the dust hissed and rattled on the pavement. Do you know what a low public-house smells like in London on a hot afternoon? Do you know what London bitter tastes like on such a day—the publican being evidently careful of his clients' health, and aware of the folly of drinking cold beverages during a period of extreme heat? I do. Nelly, poor dear, had warm lemonade, and I had warm beer—warm chemicals, I mean. But the odour! Why doesn't some scientific man stop wasting his time over a lot of useless rubbish and discover a way of bottling the odour of the past?
"Ah! but if he did so, in a phial of rare crystal with a stopper as secure as the seal of Solimaun ben Daoud would I preserve one most precious scent, inscribing on the seal, within a perfect pentagram, the mystic legend 'No. 15, Little Russell Row.'"
The cat had come in with the tea-tray. He was a black cat, not very large, with a decent roundness of feature, and yet with a suggestion of sinewy skinniness about him—the Skinniness of the wastrel, not of the poor starveling. His bright green eyes had, as Ambrose observed, the wisdom of Egypt; on his tomb should be inscribed "The Justified in Sekht." He walked solemnly in front of the landlady, his body describing strange curves, his tail waving in the air, and his ears put back with an expression of intense cunning. He seemed delighted at "the let," and when Nelly stroked his back he gave a loud shriek of joy and made known his willingness to take a little refreshment.
They laughed so heartily over their tea that when the landlady came in to clear the things away they were still bubbling over with aimless merriment.
"I likes to see young people 'appy," she said pleasantly, and readily provided a latchkey in case they cared to come in rather late. She told them a good deal of her life: she had kept lodgings in Judd Street, near King's Cross—a nasty, noisy street, she called it—and she seemed to think the inhabitants a low lot. She had to do with all sorts, some good some bad, and the business wasn't what it had been in her mother's day.
They sat a little while on the sofa, hand in hand still consumed with the jest of their being there at all, and imagining grotesque entrances of Mr. Horbury or Dr. Chesson. Then they went out to wander about the streets, to see London easily, merrily, without bothering the Monument, or the British Museum, or Madame Tussaud's—finally, to get something to eat, they didn't know when or where or how, and they didn't in the least care! There was one "sight" they were not successful in avoiding: they had not journeyed far before the great portal of the British Museum confronted them, grandiose and gloomy. So, by the sober way of Great Russell Street, they made their way into Tottenham Court Road and, finally, into Oxford Street. The shops were bright and splendid, the pavement was crowded with a hurrying multitude, as it seemed to the country folk, though it was the dullest season of the year. It was a great impression—decidedly London was a wonderful place. Already Ambrose felt a curious sense of being at home in it; it was not beautiful, but it was on the immense scale; it did something more than vomit stinks into the air, poison into the water and rows of workmen's houses on the land. They wandered on, and then they had the fancy that they would like to explore the regions to the south; it was so impossible, as Ambrose said, to know where they would find themselves eventually. He carefully lost himself within a few minutes of Oxford Street. A few turnings to right and then to left; the navigation of strange alleys soon left them in the most satisfactory condition of bewilderment; the distinctions of the mariner's compass, its pedantry of east and west, north and south, were annihilated and had ceased to be; it was an adventure in a trackless desert, in the Australian bush, but on safer ground and in an infinitely more entertaining scene. At first they had passed through dark streets, Georgian and Augustan ways, gloomy enough, and half deserted; there were grave houses, with many stories of windows, now reduced to printing offices, to pickle warehouses, to odd crafts such as those of the metal assayer, the crucible maker, the engraver of seals, the fabricator of Boule. But how wonderful it was to see the actual place where those things were done! Ambrose had read of such arts, but had always thought of them as existing in a vague void—if some of them even existed at all in those days: but there in the windows were actual crucibles, strange-looking curvilinear pots of grey-yellowish ware, the veritable instruments of the Magnum Opus, inventions of Arabia. He was no longer astonished when a little farther he saw a harpsichord, which had only been a name to him, a beautiful looking thing, richly inlaid, with its date—1780—inscribed on a card above it. It was now utterly wonderland: he could very likely buy armour round the corner; and he had scarcely formed the thought when a very fine sixteenth-century suit, richly damascened, rose up before him, handsomely displayed between two black jacks. These were the comparatively silent streets; but they turned a corner, and what a change! All the roadway, not the pavement only, seemed full of a strolling, chatting, laughing mob of people: the women were bareheaded, and one heard nothing but the roll of the French "r," torrents of sonorous sound trolled out with the music of happy song. The papers in the shops were all French, ensigns on every side proclaimed "Vins Fins," "Beaune Supérieur": the tobacconists kept their tobacco in square blue, yellow and brown packets; "Charcuterie' made a brave and appetising show. And here was a "Café Restaurant: au château de Chinon." The name was enough; they could not dine elsewhere, and Ambrose felt that he was honouring the memory of the great Rabelais.
It was probably not a very good dinner. It was infinitely better than the Soho dinner of these days, for the Quarter had hardly begun to yield to the attack of Art, Intellect and the Suburbs which, between them, have since destroyed the character and unction of many a good cook-shop. Ambrose only remembered two dishes; the pieds de porc grillés and the salad. The former he thought both amusing and delicious, and the latter was strangely and artfully compounded of many herbs, of little vinegar, of abundant Provençal oil, with the chapon, or crust rubbed with garlic, reposing at the bottom of the bowl after Madame had "tormented" the ingredients—the salad was a dish from Fairyland. There be no such salads now in all the land of Soho.
"Let me celebrate, above all, the little red wine," says Ambrose in a brief dithyrambic note. "Not in any mortal vineyard did its father grape ripen; it was not nourished by the warmth of the visible sun, nor were the rains that made it swell common waters from the skies above us. Not even in the Chinonnais, sacred earth though that be, was the press made that caused its juices to be poured into the cuve, nor was the humming of its fermentation heard in any of the good cellars of the lower Touraine. But in that region which Keats celebrates when he sings the 'Mermaid Tavern' was this juice engendered—the vineyard lay low down in the south, among the starry plains where is the Terra Turonensis Celestis, that unimaginable country which Rabelais beheld in his vision where mighty Gargantua drinks from inexhaustible vats eternally, where Pantagruel is athirst for evermore, though he be satisfied continually. There, in the land of the Crowned Immortal Tosspots was that wine of ours vintaged, red with the rays of the Dog-star, made magical by the influence of Venus, fertilised by the happy aspect of Mercury. O rare, superabundant and most excellent juice, fruit of all fortunate stars, by thee were we translated, exalted into the fellowship of that Tavern of which the old poet writes: Mihi est propositum in Taberna mori!"
There were few English people in the Château de Chinon— indeed, it is doubtful whether there was more than one—the ménage Lupton excepted. This one compatriot happened to be a rather remarkable man—it was Carrol. He was not in the vanguard of anything; he knew no journalists and belonged to no clubs; he was not even acquainted in the most distant manner with a single person who could be called really influential or successful. He was an obscure literary worker, who published an odd volume every five or six years: now and then he got notices, when there was no press of important stuff in the offices, and sometimes a kindly reviewer predicted that he would come out all right in time, though he had still much to learn. About a year before he died, an intelligent reading public was told that one or two things of his were rather good; then, on his death, it was definitely discovered that the five volumes of verse occupied absolutely unique ground, that a supreme poet had been taken from us, a poet who had raised the English language into a fourth dimension of melody and magic. The intelligent reading public read him no more than they ever did, but they buy him in edition after edition, from large quarto to post octavo; they buy him put up into little decorated boxes; they buy him on Japanese vellum; they buy him illustrated by six different artists; they discuss no end of articles about him; they write their names in the Carrol Birthday Book; they set up the Carrol Calendar in their boudoirs; they have quotations from him in Westminster Abbey and St. Paul's Cathedral; they sing him in the famous Carrol Cycle of Song; and, last and best of all, a brilliant American playwright is talking even now of dramatising him. The Carrol Club, of course, is ancient history. Its membership is confined to the ranks of intellect and art; it invites to its dinners foreign princes, bankers, major-generals and other persons of distinction—all of whom, of course, are intensely interested in the master's book; and the record and praise of the Club are in all the papers. It is a pity that Carrol is dead. He would not have sworn: he would have grinned.
Even then, though he was not glorious, he was observant, and he left a brief note, a sort of thumb-nail sketch, of his impressions that night at the Château de Chinon.
"I was sitting in my old corner," he says, "wondering why the devil I wrote so badly on the whole, and what the devil I was going to do with the subject that I had tackled. The dinner was not so bad at the old Château in those days, though now they say the plate-glass is the best dish in the establishment. I liked the old place; it was dingy and low down and rather disreputable, I fancy, and the company was miscellaneous French with a dash of Italian. Nearly all of us knew each other, and there were regulars who sat in the same seat night after night. I liked it all. I liked the coarse tablecloths and the black-handled knives and the lead spoons and the damp, adhesive salt, and the coarse, strong, black pepper that one helped with a fork handle. Then there was Madame sitting on high, and I never saw an uglier woman nor a more good-natured. I was getting through my roast fowl and salad that evening, when two wonderful people came in, obviously from fairyland! I saw they had never been in such a place in all their lives before—I don't believe either of them had set foot in London until that day, and their wonder and delight and enjoyment of it all were so enormous that I had another helping of food and an extra half-bottle of wine. I enjoyed them, too, in their way, but I could see that their fowl and their wine were not a bit the same as mine. I once knew the restaurant they were really dining at—Grand Café de Paradis—some such name as that. He was an extraordinary looking chap, quite young, I should fancy, black hair, dark skin, and such burning eyes! I don't know why, but I felt he was a bit out of his setting, and I kept thinking how I should like to see him in a monk's robe. Madame was different. She was a lovely girl with amazing copper hair; dressed rather badly—of the people, I should imagine. But what a gaiety she had! I couldn't hear what they were saying, but one had to smile with sheer joy at the sight of her face—it positively danced with mirth, and a good musician could have set it to music, I am sure. There was something a little queer—too pronounced, perhaps—about the lower part of her face. Perhaps it would have been an odd tune, but I know I should have liked to hear it!"
Ambrose lit a black Caporal cigarette—he had bought a packet on his way. He saw an enticing bottle, of rotund form, paying its visits to some neighbouring tables, and the happy fools made the acquaintance of Benedictine.
"Oh, yes, it is all very well," Ambrose has been heard to say on being offered this agreeable and aromatic liqueur, "it's nice enough, I daresay. But you should have tasted the real stuff. I got it at a little café in Soho some years ago—the Château de Chinon. No, it's no good going there now, it's quite different. All the walls are plate-glass and gold; the head waiter is called Maître d'hôtel, and I am told it's quite the thing, both in southern and northern suburbs, to make up dinner parties at the Château—everything most correct, evening dress, fans, opera cloaks, 'Hide-seek' champagne, and stalls afterwards. One gets a glimpse of Bohemian life that way, and everybody says it's been such a queer evening, but quite amusing, too. But you can't get the real Benedictine there now.
"Where can you get it? Ah! I wish I knew. I never come across it. The bottle looks just the same, but it's quite a different flavour. The phylloxera may be responsible, of course, but I don't think it is. Perhaps the bottle that went round the table that night was like the powder in Jekyll and Hyde—its properties were the result of some strange accident. At all events, they were quite magical."
The two adventurers went forth into the maze of streets and lost themselves again. Heaven knows where they went, by what ways they wandered, as with wide-gleaming eyes, arm locked in arm, they gazed on an enchanted scene which they knew must be London and nothing else—what else could it be? Indeed, now and again, Ambrose thought he recognized certain features and monuments and public places of which he had read; but still! That wine of the Château was, by all mundane reckonings, of the smallest, and one little glass of Benedictine with coffee could not disturb the weakest head: yet was it London, after all?
What they saw was, doubtless, the common world of the streets and squares, the gay ways and the dull, the broad, ringing, lighted roads and the dark, echoing passages; yet they saw it all as one sees a mystery play, through a veil. But the veil before their eyes was a transmuting vision, and its substance was shot as if it were samite, with wonderful and admirable golden ornaments. In the Eastern Tales, people find themselves thus suddenly transported into an unknown magical territory, with cities that are altogether things of marvel and enchantment, whose walls are pure gold, lighted by the shining of incomparable jewels; and Ambrose declared later that never till that evening had he realized the extraordinary and absolute truth to nature of the Arabian Nights. Those who were present on a certain occasion will not soon forget his rejoinder to "a gentleman in the company" who said that for truth to nature he went to George Eliot.
"I was speaking of men and women, Sir," was the answer, "not of lice."
The gentleman in question, who was quite an influential man—some whisper that he was an editor—was naturally very much annoyed.
Still, Ambrose maintained his position. He would even affirm that for crude realism the Eastern Tales were absolutely unique.
"Of course," he said, "I take realism to mean absolute and essential truthfulness of description, as opposed to merely conventional treatment. Zola is a realist, not—as the imbeciles suppose—because he described—well, rather minutely—many unpleasant sights and sounds and smells and emotions, but because he was a poet, a seer; because, in spite of his pseudo-philosophies, his cheap materialisms, he saw the true heart, the reality of things. Take La Terre; do you think it is 'realistic' because it describes minutely, and probably faithfully, the event of a cow calving? Not in the least; the local vet. who was called in could probably do all that as well, or better. It is 'realist' because it goes behind all the brutalities, all the piggeries and inhumanities, of those frightful people, and shows us the strange, mad, transcendent passion that lay behind all those things—the wild desire for the land—a longing that burned, that devoured, that inflamed, that drove men to hell and death as would a passion for a goddess who might never be attained. Remember how 'La Beauce' is personified, how the earth swells and quickens before one, how every clod and morsel of the soil cries for its service and its sacrifice and its victims—I call that realism.
"The Arabian Nights is also profoundly realistic, though both the subject-matter and the method of treatment—the technique—are very different from the subject-matter and the technique of Zola. Of course, there may be people who think that if you describe a pigsty well you are a 'realist,' and if you describe an altar well you are 'romantic.' … I do not know that the mental processes of Crétins form a very interesting subject for discussion."
One may surmise, if one will, that the sudden violence of the change was a sufficient cause of exaltation. That detestable Lupton left behind; no town, but a collection of stink and poison factories and slave quarters; that more detestable school, more ridiculous than the Academy of Lagado; that most detestable routine, games, lessons and the Doctor's sermons—the transition was tremendous to the freedom of fabled London, of the unknown streets and unending multitudes.
Ambrose said he hesitated to talk of that walk, lest he should be thought an aimless liar. They strolled for hours seeing the most wonderful things, the most wonderful people; but he declared that the case was similar to that of the Benedictine—he could never discover again the regions that he had perambulated. Somewhere, he said, close to the Château de Chinon there must be a passage which had since been blocked up. By it was the entrance to Fairyland.
When at last they found Little Russell Row, the black cat was awaiting them with an expression which was pleased and pious, too; he had devoured the greater portion of that quarter-pound of dubious butter. Ambrose smoked black cigarettes in bed till the packet was finished.