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  Miss Leila Johnson (The Manse, Carlyle) has observed in Leonard Wace (Dover Street, Saltburn) a certain coldness of demeanour; yet `I do not blame you; it is probably your nature’; and Leila in her sweet forbearance is typical of all the other pained women in these pages: she is but one of a crowd of heroines.

  Face to face with all this perfection, the not perfect reader begins to crave some little outburst of wrath, of hatred or malice, from one of these imaginary ladies and gentlemen. He longs for—how shall he word it?—a glimpse of some bad motive, of some little lapse from dignity. Often, passing by a pillar-box, I have wished I could unlock it and carry away its contents, to be studied at my leisure. I have always thought such a haul would abound in things fascinating to a student of human nature. One night, not long ago, I took a waxen impression of the lock of the pillar-box nearest to my house, and had a key made. This implement I have as yet lacked either the courage or the opportunity to use. And now I think I shall throw it away…. No, I shan’t. I refuse, after all, to draw my inference that the bulk of the British public writes always in the manner of this handbook. Even if they all have beautiful natures they must sometimes be sent slightly astray by inferior impulses, just as are you and I.

  And, if err they must, surely it were well they should know how to do it correctly and forcibly. I suggest to our author that he should sprinkle his next edition with a few less righteous examples, thereby both purging his book of its monotony and somewhat justifying its subtitle. Like most people who are in the habit of writing things to be printed, I have not the knack of writing really good letters. But let me crudely indicate the sort of thing that our manual needs….

  LETTER FROM POOR MAN TO OBTAIN MONEY FROM RICH ONE.

  [The English law is particularly hard on what is called blackmail. It is therefore essential that the applicant should write nothing that might afterwards be twisted to incriminate him.—ED.]

  DEAR SIR,

  To-day, as I was turning out a drawer in my attic, I came across a letter which by a curious chance fell into my hands some years ago, and which, in the stress of grave pecuniary embarrassment, had escaped my memory. It is a letter written by yourself to a lady, and the date shows it to have been written shortly after your marriage. It is of a confidential nature, and might, I fear, if it fell into the wrong hands, be cruelly misconstrued. I would wish you to have the satisfaction of destroying it in person. At first I thought of sending it on to you by post. But I know how happy you are in your domestic life; and probably your wife and you, in your perfect mutual trust, are in the habit of opening each other’s letters. Therefore, to avoid risk, I would prefer to hand the document to you personally. I will not ask you to come to my attic, where I could not offer you such hospitality as is due to a man of your wealth and position. You will be so good as to meet me at 3.0 A.M. (sharp) tomorrow (Thursday) beside the tenth lamp-post to the left on the Surrey side of Waterloo Bridge; at which hour and place we shall not be disturbed.

  I am, dear Sir,

  Yours respectfully,

  JAMES GRIDGE.

  LETTER FROM YOUNG MAN REFUSING TO PAY HIS TAILOR’S BILL.

  Mr. Eustace Davenant has received the half-servile, half-insolent screed which Mr. Yardley has addressed to him. Let Mr. Yardley cease from crawling on his knees and shaking his fist. Neither this posture nor this gesture can wring one bent farthing from the pockets of Mr.

  Davenant, who was a minor at the time when that series of ill-made suits was supplied to him and will hereafter, as in the past, shout (without prejudice) from the house-tops that of all the tailors in London Mr. Yardley is at once the most grasping and the least competent.

  LETTER TO THANK AUTHOR FOR INSCRIBED COPY OF BOOK.

  DEAR MR. EMANUEL FLOWER,

  It was kind of you to think of sending me a copy of your new book. It would have been kinder still to think again and abandon that project.

  I am a man of gentle instincts, and do not like to tell you that `A Flight into Arcady’ (of which I have skimmed a few pages, thus wasting two or three minutes of my not altogether worthless time) is trash. On the other hand, I am determined that you shall not be able to go around boasting to your friends, if you have any, that this work was not condemned, derided, and dismissed by your sincere well-wisher, WREXFORD CRIPPS.

  LETTER TO MEMBER OF PARLIAMENT UNSEATED AT GENERAL ELECTION.

  DEAR MR. POBSBY-BURFORD,

  Though I am myself an ardent Tory, I cannot but rejoice in the crushing defeat you have just suffered in West Odgetown. There are moments when political conviction is overborne by personal sentiment; and this is one of them. Your loss of the seat that you held is the more striking by reason of the splendid manner in which the northern and eastern divisions of Odgetown have been wrested from the Liberal Party. The great bulk of the newspaper-reading public will be puzzled by your extinction in the midst of our party’s triumph. But then, the great mass of the newspaper-reading public has not met you. I have.

  You will probably not remember me. You are the sort of man who would not remember anybody who might not be of some definite use to him.

  Such, at least, was one of the impressions you made on me when I met you last summer at a dinner given by our friends the Pelhams. Among the other things in you that struck me were the blatant pomposity of your manner, your appalling flow of cheap platitudes, and your hoggish lack of ideas. It is such men as you that lower the tone of public life. And I am sure that in writing to you thus I am but expressing what is felt, without distinction of party, by all who sat with you in the late Parliament.

  The one person in whose behalf I regret your withdrawal into private life is your wife, whom I had the pleasure of taking in to the aforesaid dinner. It was evident to me that she was a woman whose spirit was well-nigh broken by her conjunction with you. Such remnants of cheerfulness as were in her I attributed to the Parliamentary duties which kept you out of her sight for so very many hours daily. I do not like to think of the fate to which the free and independent electors of West Odgetown have just condemned her. Only, remember this: chattel of yours though she is, and timid and humble, she despises you in her heart.

  I am, dear Mr. Pobsby-Burford,

  Yours very truly,

  HAROLD THISTLAKE.

  LETTER FROM YOUNG LADY IN ANSWER TO INVITATION FROM OLD

  SCHOOLMISTRESS.

  MY DEAR MISS PRICE,

  How awfully sweet of you to ask me to stay with you for a few days but how can you think I may have forgotten you for of course I think of you so very often and of the three ears I spent at your school because it is such a joy not to be there any longer and if one is at all down it bucks one up derectly to remember that thats all over atanyrate and that one has enough food to nurrish one and not that awful monottany of life and not the petty fogging daily tirrany you went in for and I can imagin no greater thrill and luxury in a way than to come and see the whole dismal grind still going on but without me being in it but this would be rather beastly of me wouldnt it so please dear Miss Price dont expect me and do excuse mistakes of English Composition and Spelling and etcetra in your affectionate old pupil, EMILY THRESE LYNN-ROYSTON.

  ps, I often rite to people telling them where I was edducated and highly reckomending you.

  LETTER IN ACKNOWLEDGEMENT OF WEDDING PRESENT.

  DEAR LADY AMBLESHAM,

  Who gives quickly, says the old proverb, gives twice. For this reason I have purposely delayed writing to you, lest I should appear to thank you more than once for the small, cheap, hideous present you sent me on the occasion of my recent wedding. Were you a poor woman, that little bowl of ill-imitated Dresden china would convict you of tastelessness merely; were you a blind woman, of nothing but an odious parsimony. As you have normal eyesight and more than normal wealth, your gift to me proclaims you at once a Philistine and a miser (or rather did so proclaim you until, less than ten seconds after I had unpacked it from its wrappings of tissue paper, I took it to the open window and had
the satisfaction of seeing it shattered to atoms on the pavement). But stay! I perceive a possible flaw in my argument.

  Perhaps you were guided in your choice by a definite wish to insult me. I am sure, on reflection, that this was so. I shall not forget.

  Yours, etc.,

  CYNTHIA BEAUMARSH.

  PS. My husband asks me to tell you to warn Lord Amblesham to keep out of his way or to assume some disguise so complete that he will not be recognised by him and horsewhipped.

  PPS. I am sending copies of this letter to the principal London and provincial newspapers.

  LETTER FROM…

  But enough! I never thought I should be so strong in this line. I had not foreseen such copiousness and fatal fluency. Never again will I tap these deep dark reservoirs in a character that had always seemed to me, on the whole, so amiable.

  MOBLED KING

  1911.

  Just as a memorial, just to perpetuate in one’s mind the dead man in whose image and honour it has been erected, this statue is better than any that I have seen…. No, pedantic reader: I ought not to have said `than any other that I have seen’ Except in shrouded and distorted outline, I have not seen this statue.

  Not as an image, then, can it be extolled by me. And I am bound to say that even as an honour it seems to me more than dubious. Commissioned and designed and chiselled and set up in all reverence, it yet serves very well the purpose of a guy. This does not surprise you. You are familiar with a host of statues that are open to precisely that objection. Westminster Abbey abounds in them. They confront you throughout London and the provinces. They stud the Continent. Rare indeed is the statue that can please the well-wishers of the person portrayed. Nor in every case is the sculptor to blame. There is in the art of sculpture itself a quality intractable to the aims of personal portraiture. Sculpture, just as it cannot fitly record the gesture of a moment, is discommoded by personal idiosyncrasies. The details that go to compose this or that gentleman’s appearance—such as the little wrinkles around his eyes, and the way his hair grows, and the special convolutions of his ears—all these, presentable on canvas, or evocable by words, are not right matter for the chisel or for the mould and furnace. Translated into terms of bronze or marble, howsoever cunningly, these slight and trivial things cease to be trivial and slight. They assume a ludicrous importance. No man is worthy to be reproduced as bust or statue. And if sculpture is too august to deal with what a man has received from his Maker, how much less ought it to be bothered about what he has received from his hosier and tailor! Sculpture’s province is the soul. The most concrete, it is also the most spiritual of the arts. The very heaviness and stubbornness of its material, precluding it from happy dalliance with us fleeting individual creatures, fit it to cope with that which in mankind is permanent and universal. It can through the symbol give us incomparably the type. Wise is that sculptor who, when portray an individual he must, treats arbitrarily the mere actual husk, and strives but to show the soul. Of course, he must first catch that soul. What M. Rodin knew about the character and career of Mr.

  George Wyndham, or about the character and career of Mr. Bernard Shaw, was not, I hazard, worth knowing; and Mr. Shaw is handed down by him to posterity as a sort of bearded lady, and Mr. Wyndham as a sort of beardless one. But about Honore’ de Balzac he knew much. Balzac he understood. Balzac’s work, Balzac’s soul, in that great rugged figure aspiring and indeflexible, he gave us with a finality that could have been achieved through no other art than sculpture.

  There is a close kinship between that statue of Balzac and this statue of which I am to tell you. Both induce, above all, a profound sense of unrest, of heroic will to overcome all obstacles. The will to compass self-expression, the will to emerge from darkness to light, from formlessness to form, from nothing to everything—this it is that I find in either statue; and this it is in virtue of which the Balzac has unbeknown a brother on the Italian seaboard.

  Here stands—or rather struggles—on his pedestal this younger brother, in strange contrast with the scenery about him. Mildly, behind his back, the sea laps the shingle. Mildly, in front of him, on the other side of the road, rise some of those mountains whereby the Earth, before she settled down to cool, compassed—she, too—some sort of self-expression. Mildly around his pedestal, among rusty anchors strewn there on the grass between road and beach, sit the fishermen, mending their nets or their sails, or whittling bits of wood. What will you say of these fishermen when–-but I outstrip my narrative.

  I had no inkling of tragedy when first I came to the statue. I did not even know it was a statue. I had made by night the short journey from Genoa to this place beside the sea; and, driving along the coast-road to the hotel that had been recommended, I passed what in the starlight looked like nothing but an elderly woman mounted on a square pedestal and gazing out seaward—a stout, elderly, lonely woman in a poke bonnet, indescribable except by that old Victorian term `a party,’ and as unlike Balzac’s younger brother as only Sarah Gamp’s elder sister could be. How, I wondered in my hotel, came the elder sister of Sarah Gamp to be here in Liguria and in the twentieth century? How clomb she, puffing and panting, on to that pedestal? For what argosy of gin was she straining her old eyes seaward? I knew there would be no sleep for me until I had solved these problems; and I went forth afoot along the way I had come. The moon had risen; and presently I saw in the starlight the `party’ who so intrigued me. Eminent, amorphous, mysterious, there she stood, immobile, voluminous, ghastly beneath the moon. By a slight shoreward lift of crinoline, as against the seaward protrusion of poke bonnet, a grotesque balance was given to the unshapely shape of her. For all her uncanniness, I thought I had never seen any one, male or female, old or young, look so hopelessly common.

  I felt that by daylight a noble vulgarity might be hers. In the watches of the night she was hopelessly, she was transcendently common.

  Little by little, as I came nearer, she ceased to illude me, and I began to think of her as `it.’ What `it’ was, however, I knew not until I was at quite close quarters to the pedestal it rose from.

  There, on the polished granite, was carved this legend: A UMBERTO Iř

  And instinctively, as my eye travelled up, my hand leapt to the salute; for I stood before the veiled image of a dead king, and had been guilty of a misconception that dishonoured him.

  Standing respectfully at one angle and another, I was able to form, by the outlines of the grey sheeting that enveloped him, some rough notion of his posture and his costume. Round what was evidently his neck the sheeting was constricted by ropes; and the height and girth of the bundle above—to half-closed eyes, even now, an averted pokebonnet—gave token of a tall helmet with a luxuriant shock of plumes waving out behind. Immediately beneath the ropes, the breadth and sharpness of the bundle hinted at epaulettes. And the protrusion that had seemed to be that of a wind-blown crinoline was caused, I thought, by the king having his left hand thrust well out to grasp the hilt of his inclined sword. Altogether, I had soon builded a clear enough idea of his aspect; and I promised myself a curious gratification in comparing anon this idea with his aspect as it really was.

  Yes, I took it for granted that the expectant statue was to be unveiled within the next few days. I was glad to be in time—not knowing in how terribly good time I was—for the ceremony. Not since my early childhood had I seen the unveiling of a statue; and on that occasion I had struck a discordant note by weeping bitterly. I dare say you know that statue of William Harvey which stands on the Leas at Folkestone. You say you were present at the unveiling? Well, I was the child who cried. I had been told that William Harvey was a great and good man who discovered the circulation of the blood; and my mind had leapt, in all the swiftness of its immaturity, to the conclusion that his statue would he a bright blood-red. Cruel was the thrill of dismay I had when at length the cord was pulled and the sheeting slid down, revealing so dull a sight…

  Contemplating the veiled Umberto, I remembered that sight,
remembered those tears unworthy (as my nurse told me) of a little gentleman.

  Years had passed. I was grown older and wiser. I had learnt to expect less of life. There was no fear that I should disgrace myself in the matter of Umberto.

  I was not so old, though, nor so wise, as I am now. I expected more than there is of Italian speed, and less than there is of Italian subtlety. A whole year has passed since first I set eyes on veiled Umberto. And Umberto is still veiled.

  And veiled for more than a whole year, as I now know, had Umberto been before my coming. Four years before that, the municipal council, it seems, had voted the money for him. His father, of sensational memory, was here already, in the middle of the main piazza, of course. And Garibaldi was hard by; so was Mazzini; so was Cavour. Umberto was still implicit in a block of marble, high upon one of the mountains of Carrara. The task of educing him was given to a promising young sculptor who lived here. Down came the block of marble, and was transported to the studio of the promising young sculptor; and out, briskly enough, mustachios and all, came Umberto. He looked very regal, I am sure, as he stood glaring around with his prominent marble eyeballs, and snuffing the good fresh air of the world as far as might be into shallow marble nostrils. He looked very authoritative and fierce and solemn, I am sure. He made, anyhow, a deep impression on the mayor and councillors, and the only question was as to just where he should be erected. The granite pedestal had already been hewn and graven; but a worthy site was to seek. Outside the railway station? He would obstruct the cabs. In the Giardino Pubblico? He would clash with Garibaldi. Every councillor had a pet site, and every other one a pet objection to it. That strip of waste ground where the fishermen sat pottering? It was too humble, too far from the centre of things.