Chapter XI
 THOUGHTS IN A STRAND LODGING
 Awful Emma has undressed and put the last child away — stowed the last child away in some mysterious and unapproachable corner that none knows of but she; the fat landlady has ceased to loiter about my door, has ceased to pester me with offers of brandy and water, tea and toast, the inducements that occur to her landlady’s mind; the actress from the Savoy has ceased to walk up and down the street with the young man who accompanied her home from the theatre; she has ceased to linger on the doorstep talking to him, her key has grated in the lock, she has come upstairs, we have had our usual midnight conversation on the landing, she has told me her latest hopes of obtaining a part, and of the husband whom she was obliged to leave; we have bid each other good-night, she has gone up the creaky staircase. I have returned to my room, littered with MS. and queer publications; the night is hot and heavy, but now a wind is blowing from the river. I am listless and lonely. ... I open a book, the first book that comes to hand ... it is Le Journal des Goncourts, p. 358, the end of a chapter: —
 “It is really curious that it should be the four men the most free from all taint of handicraft and all base commercialism, the four pens the most entirely devoted to art, that were arraigned before the public prosecutor: Baudelaire, Flaubert, and ourselves.”
 Yes it is indeed curious, and I will not spoil the piquancy of the moral by a comment. No comment would help those to see who have eyes to see, no comment would give sight to the hopelessly blind. Goncourt’s statement is eloquent and suggestive enough; I leave it a naked simple truth; but I would put by its side another naked simple truth. This: If in England the public prosecutor does not seek to override literature, the means of tyranny are not wanting, whether they be the tittle-tattle of the nursery or the lady’s drawing-room, or the shameless combinations entered into by librarians. ... In England as in France those who loved literature the most purely, who were the least mercenary in their love, were marked out for persecution, and all three were driven into exile. Byron, Shelley, and George Moore; and Swinburne, he, too, who loved literature for its own sake, was forced, amid cries of indignation and horror, to withdraw his book from the reach of a public that was rooting then amid the garbage of the Yelverton divorce case. I think of these facts and think of Baudelaire’s prose poem, that poem in which he tells how a dog will run away howling if you hold to him a bottle of choice scent, but if you offer him some putrid morsel picked out of some gutter hole, he will sniff round it joyfully, and will seek to lick your hand for gratitude. Baudelaire compared that dog to the public. Baudelaire was wrong: that dog was a — — .

* * * *

 When I read Balzac’s stories of Vautrin and Lucien de Rubempré, I often think of Hadrian and the Antinous. I wonder if Balzac did dream of transposing the Roman Emperor and his favourite into modern life. It is the kind of thing that Balzac would think of. No critic has ever noticed this.

* * * *

 Sometimes, at night, when all is still, and I look out on that desolate river, I think I shall go mad with grief, with wild regret for my beautiful appartement in Rue de la Tour des Dames. How different is the present to the past! I hate with my whole soul this London lodging, and all that concerns it — Emma, and eggs and bacon, the fat lascivious landlady and her lascivious daughter; I am sick of the sentimental actress who lives upstairs, I swear I will never go out to talk to her on the landing again. Then there is failure — I can do nothing, nothing; my novel I know is worthless; my life is a weak leaf, it will flutter out of sight presently. I am sick of everything; I wish I were back in Paris; I am sick of reading; I have nothing to read. Flaubert bores me. What nonsense has been talked about him! Impersonal! Nonsense, he is the most personal writer I know. That odious pessimism! How sick I am of it, it never ceases, it is lugged in à tout dropos, and the little lyrical phrase with which he winds up every paragraph, how boring it is. Happily, I have “A Rebours” to read, that prodigious book, that beautiful mosaic. Huysmans is quite right, ideas are well enough until you are twenty, afterwards only words are bearable ... a new idea, what can be more insipid — fit for members of parliament. ... Shall I go to bed? No. ... I wish I had a volume of Verlaine, or something of Mallarmé’s to read — Mallarmé for preference. I remember Huysmans speaks of Mallarmé in “A Rebours.” In hours like these a page of Huysmans is as a dose of opium, a glass of some exquisite and powerful liqueur.
 “The decadence of a literature irreparably attacked in its organism, weakened by the age of ideas, overworn by the excess of syntax, sensible only of the curiosity which fevers sick people, but nevertheless hastening to explain everything in its decline, desirous of repairing all the omissions of its youth, to bequeath all the most subtle souvenirs of its suffering on its deathbed, is incarnate in Mallarmé in most consummate and absolute fashion. ...
 “The poem in prose is the form, above all others, they prefer; handled by an alchemist of genius, it should contain in a state of meat the entire strength of the novel, the long analysis and the superfluous description of which it suppresses ... the adjective placed in such an ingenious and definite way, that it could not be legally dispossessed of its place, would open up such perspectives, that the reader would dream for whole weeks together on its meaning at once precise and multiple, affirm the present, reconstruct the past, divine the future of the souls of the characters revealed by the light of the unique epithet. The novel thus understood, thus condensed into one or two pages, would be a communion of thought between a magical writer and an ideal reader, a spiritual collaboration by consent between ten superior persons scattered through the universe, a delectation offered to the most refined, and accessible only to them.”
 Huysmans goes to my soul like a gold ornament of Byzantine workmanship; there is in his style the yearning charm of arches, a sense of ritual, the passion of the mural, of the window. Ah! in this hour of weariness for one of Mallarmé’s prose poems! Stay, I remember I have some numbers of La Vogue. One of the numbers contains, I know, “Forgotten Pages;” I will translate word for word, preserving the very rhythm, one or two of these miniature marvels of diction: —

 Forgotten Pages
 “Since Maria left me to go to another star — which? Orion, Altair, or thou, green Venus? I have always cherished solitude. What long days I have passed alone with my cat. By alone, I mean without a material being, and my cat is a mystical companion — a spirit. I can, therefore, say that I have passed whole days alone with my cat, and, alone with one of the last authors of the Latin decadence; for since that white creature is no more, strangely and singularly I have loved all that the word fall expresses. In such wise that my favourite season of the year is the last weary days of summer, which immediately precede autumn, and the hour I choose to walk in is when the sun rests before disappearing, with rays of yellow copper on the grey walls and red copper on the tiles. In the same way the literature that my soul demands — a sad voluptuousness — is the dying poetry of the last moments of Rome, but before it has breathed at all the rejuvenating approach of the barbarians, or has begun to stammer the infantile Latin of the first Christian poetry.
 “I was reading, therefore, one of those dear poems (whose paint has more charm for me than the blush of youth), had plunged one hand into the fur of the pure animal, when a barrel organ sang languidly and melancholy beneath my window. It played in the great alley of poplars, whose leaves appear to me yellow, even in the spring-tide, since Maria passed there with the tall candles for the last time. The instrument is the saddest, yes, truly; the piano scintillates, the violin opens the torn soul to the light, but the barrel-organ, in the twilight of remembrance, made me dream despairingly. Now it murmurs an air joyously vulgar which awakens joy in the heart of the suburbs, an air old-fashioned and commonplace. Why do its flourishes go to my soul, and make me weep like a romantic ballad? I listen, imbibing it slowly, and I do not throw a penny out of the window for fear of moving from my place, and seeing that the instrument is not singing itself.

II
 “The old Saxony clock, which is slow, and which strikes thirteen amid its flowers and gods, to whom did it belong? Thinkest that it came from Saxony by the mail coaches of old time?
 “(Singular shadows hang about the worn-out panes.)
 “And thy Venetian mirror, deep as a cold fountain in its banks of gilt work; what is reflected there? Ah! I am sure that more than one woman bathed there in her beauty’s sin; and, perhaps, if I looked long enough, I should see a naked phantom.
 “Wicked one, thou often sayest wicked things.
 “(I see the spiders’ webs above the lofty windows.)
 “Our wardrobe is very old; see how the fire reddens its sad panels! the weary curtains are as old, and the tapestry on the arm-chairs stripped of paint, and the old engravings, and all these old things. Does it not seem to thee that even these blue birds are discoloured by time?
 “(Dream not of the spiders’ webs that tremble above the lofty windows.)
 “Thou lovest all that, and that is why I live by thee. When one of my poems appeared, didst thou not desire, my sister, whose looks are full of yesterdays, the words, the grace of faded things? New objects displease thee; thee also do they frighten with their loud boldness, and thou feelest as if thou shouldest use them — a difficult thing indeed to do, for thou hast no taste for action.
 “Come, close thy old German almanack that thou readest with attention, though it appeared more than a hundred years ago, and the Kings it announces are all dead, and, lying on this antique carpet, my head leaned upon thy charitable knees, on the pale robe, oh! calm child, I will speak with thee for hours; there are no fields, and the streets are empty, I will speak to thee of our furniture.
 “Thou art abstracted?
 “(The spiders’ webs are shivering above the lofty windows.)”

 To argue about these forgotten pages would be futile. We, the “ten superior persons scattered through the universe” think these prose poems the concrete essence, the osmazome of literature, the essential oil of art, others, those in the stalls, will judge them to be the aberrations of a refined mind, distorted with hatred of the commonplace; the pit will immediately declare them to be nonsense, and will return with satisfaction to the last leading article in the daily paper.

* * * *

 ”J’ai fait mes adieux à ma mère et je viens pour vous faire les miens and other absurdities by Ponson du Terrail amused us many a year in France, and in later days similar bad grammar by Georges Ohnet has not been lost upon us, but neither Ponson du Terrail nor Georges Ohnet sought literary suffrage, such a thing could not be in France, but in England, Rider Haggard, whose literary atrocities are more atrocious than his accounts of slaughter, receives the attention of leading journals and writes about the revival of Romance. As it is as difficult to write the worst as the best conceivable sentence, I take this one and place it for its greater glory in my less remarkable prose: —
 ” As we gazed on the beauties thus revealed by Good, a spirit of emulation filled our breasts, and we set to work to get ourselves up as well as we could.”
 A return to romance! a return to the animal, say I.

* * * *

 One thing that cannot be denied to the realists: a constant and intense desire to write well, to write artistically. When I think of what they have done in the matter of the use of words, of the myriad verbal effects they have discovered, of the thousand forms of composition they have created, how they have remodelled and refashioned the language in their untiring striving for intensity of expression for the very osmazome of art, I am lost in ultimate wonder and admiration. What Hugo did for French verse, Flaubert, Goncourt, Zola, and Huysmans have done for French prose. No more literary school than the realists has ever existed, and I do not except even the Elizabethans. And for this our failures are more interesting than the vulgar successes of our opponents; for when we fall into the sterile and distorted, it is through our noble and incurable hatred of the commonplace of all that is popular.
 The healthy school is played out in England; all that could be said has been said; the successors of Dickens, Thackeray, and George Eliot have no ideal, and consequently no language; what can be more pudding than the language of Mr. Hardy, and he is typical of a dozen other writers, Mr. Besant, Mr. Murray, Mr. Crawford? The reason of this heaviness of thought and expression is that the avenues are closed, no new subject matter is introduced, the language of English fiction has therefore run stagnant. But if the realists should catch favour in England the English tongue may be saved from dissolution, for with the new subjects they would introduce, new forms of language would arise.

* * * *

 I wonder why murder is considered less immoral than fornication in literature?

* * * *

 I feel that it is almost impossible for the same ear to seize music so widely differing as Milton’s blank verse and Hugo’s alexandrines, and it seems to me especially strange that critics varying in degree from Matthew Arnold to the obscure paragraphist, never seem even remotely to suspect, when they passionately declare that English blank verse is a more perfect and complete poetic instrument than French alexandrines, that the imperfections which they aver are inherent in the latter exist only in their British ears, impervious to a thousand subtleties. Mr. Matthew Arnold does not hesitate to say that the regular rhyming of the lines is monotonous. To my ear every line is different; there is as much variation in Charles V.’s soliloquy as in Hamlet’s; but be this as it may, it is not unworthy of the inmates of Hanwell for critics to inveigh against la, rime pleine, that which is instinctive in the language as accent in ours, that which is the very genius of the language.
 But the principle has been exaggerated, deformed, caricatured until some of the most modern verse is little more than a series of puns — in art as in life the charm lies in the unexpected, and it is annoying to know that the only thought of every poet is to couple les murs with des fruits trop mûrs, and that no break in the absolute richness of sound is to be hoped for. Gustave Kahn whose beautiful volume “Les Palais Nomades” I have read with the keenest delight, was the first to recognise that an unfailing use of la rime pleine might become cloying and satiating, and that, by avoiding it sometimes and markedly and maliciously choosing in preference a simple assonance, new and subtle music might be produced.
 “Les Palais Nomades” is a really beautiful book, and it is free from all the faults that make an absolute and supreme enjoyment of great poetry an impossibility. For it is in the first place free from those pests and parasites of artistic work — ideas. Of all literary qualities the creation of ideas is the most fugitive. Think of the fate of an author who puts forward a new idea to-morrow in a book, in a play, in a poem. The new idea is seized upon, it becomes common property, it is dragged through newspaper articles, magazine articles, through books, it is repeated in clubs, drawing-rooms; it is bandied about the corners of streets; in a week it is wearisome, in a month it is an abomination. Who has not felt a sickening feeling come over him when he hears such phrases as “To be or not to be, that is the question"? Shakespeare was really great when he wrote “Music to hear, why hearest thou music sadly?” not when he wrote, “The apparel oft proclaims the man.” Could he be freed from his ideas what a poet we should have! Therefore, let those who have taken firsts at Oxford devote their intolerable leisure to preparing an edition from which everything resembling an idea shall be firmly excluded. We might then shut up our Marlowes and our Beaumonts and resume our reading of the bard, and these witless beings would confer happiness on many, and crown themselves with truly immortal bays. See the fellows! their fingers catch at scanty wisps of hair, the lamps are burning, the long pens are poised, and idea after idea is hurled out of existence.
 Gustave Kahn took counsel of the past, and he has successfully avoided everything that even a hostile critic might be tempted to term an idea; for this I am grateful to him. Nor is his volume a collection of miscellaneous verses bound together. He has chosen a certain sequence of emotions; the circumstances out of which these emotions have sprung are given in a short prose note. “Les Palais Nomades” is therefore a novel in essence; description and analysis are eliminated, and only the moments when life grows lyrical with suffering are recorded; recorded in many varying metres conforming only to the play of the emotion, for, unlike many who, having once discovered a tune, apply it promiscuously to every subject they treat, Kahn adapts his melody to the emotion he is giving expression to, with the same propriety and grace as Nature distributes perfume to her flowers. For an example of magical transition of tone I turn to Intermède.
  “Chère apparence viens aux couchants illuminés Veux-tu mieux des matins albes et calmes Les soirs et les matins ont des calmes rosâtres Les eaux ont des manteaux de cristal irisé Et des rythmes de calmes palmes Et l’air évoque de calmes musique de pâtres.

* * * *

  Viens sous des tendelets aux fleuves souriants Aux lilas pâlis des nuits d’Orient Aux glauques étendues à falbalas d’argent A l’oasis des baisers urgents Seulement vit le voile aux seuls Orients.

* * * *

“Quel que soit le spectacle et quelle que soit la rame
Et quelle que soit la voix qui s’affame et brame,
L’oublié du lointain des jours chatouille et serre,
Le lotos de l’oubli s’est fané dans mes serres,
Cependant tu m’aimais à jamais? Adieu pour jamais.”

 The repetitions of Edgar Poe seem hard and mechanical after this, so exquisite and evanescent is the rhythm, and the intonations come as sweetly and suddenly as a gust of perfume; it is as the vibration of a fairy orchestra, flute and violin disappearing in a silver mist; but the clouds break, and all the enchantment of a spring garden appears in a shaft of sudden sunlight.
  “L’éphémère idole, au frisson du printemps, Sentant des renouveaux éclore, Le guèpa de satins si lointains et d’antan Rose exilés des flores!
  “Le jardin rima ses branches de lilas; Aux murs, les roses tremières; La terre étala, pour fêter les las, Des divans vert lumière;
  “Des rires ailés peuplèrent le jardin; Souriants des caresses brèves, Des oiseaux joyeux, jaunes, incarnadins Vibrèrent aux ciels de rêve.”
 But to the devil with literature, I am sick of it; who the deuce cares if Gustave Kahn writes well or badly. Yesterday I met a chappie whose views of life coincide with mine. “A ripping good dinner,” he says; “get a skinful of champagne inside you, go to bed when it is light, and get up when you are rested.” This seems to me as concise as it is admirable; indeed there is little to add to it ... a note or two concerning women might come in, but I don’t know, “a skinful of champagne” implies everything.
 Each century has its special ideal, the ideal of the nineteenth is a young man. The seventeenth century is only woman — see the tapestries, the delightful goddesses who have discarded their hoops and heels to appear in still more delightful nakedness, the noble woods, the tall castles, with the hunters looking round; no servile archaeology chills the fancy, it is but a delightful whim; and this treatment of antiquity is the highest proof of the genius of the seventeenth century. See the Fragonards — the ladies in high-peaked bodices, their little ankles showing amid the snow of the petticoats. Up they go; you can almost hear their light false voices into the summer of the leaves, where Loves are garlanded even as of roses. Masks and arrows are everywhere, all the machinery of light and gracious days. In the Watteaus the note is more pensive; there is satin and sunset, plausive gestures and reluctance — false reluctance; the guitar is tinkling, and exquisite are the notes in the languid evening; and there is the Pierrot, that marvellous white animal, sensual and witty and glad, the soul of the century — ankles and epigrams everywhere, for love was not then sentimental, it was false and a little cruel; see the furniture and the polished floor, and the tapestries with whose delicate tints and decorations the high hair blends, the footstool and the heel and the calf of the leg that is withdrawn, showing in the shadows of the lace; look at the satin of the bodices, the fan outspread, the wigs so adorably false, the knee-breeches, the buckles on the shoes, how false; adorable little comedy, adorably mendacious; and how sweet it is to feast on these sweet lies, it is a divine delight to us, wearied with the hideous sincerity of newspapers. Then it was the man who knelt at the woman’s feet, it was the man who pleaded and the woman who acceded; but in our century the place of the man is changed, it is he who holds the fan, it is he who is besought; and if one were to dream of continuing the tradition of Watteau and Fragonard in the nineteenth century, he would have to take note of and meditate deeply and profoundly on this, as he sought to formulate and synthesize the erotic spirit of our age.
 The position of a young man in the nineteenth century is the most enviable that has ever fallen to the lot of any human creature. He is the rare bird, and is fêted, flattered, adored. The sweetest words are addressed to him, the most loving looks are poured upon him. The young man can do no wrong. Every house is open to him, and the best of everything is laid before him; girls dispute the right to serve him; they come to him with cake and wine, they sit circle-wise and listen to him, and when one is fortunate to get him alone she will hang round his neck, she will propose to him, and will take his refusal kindly and without resentment. They will not let him stoop to tie up his shoe lace, but will rush and simultaneously claim the right to attend on him. To represent in a novel a girl proposing marriage to a man would be deemed unnatural, but nothing is more common; there are few young men who have not received at least a dozen offers, nay, more; it is characteristic, it has become instinctive for girls to choose, and they prefer men not to make love to them; and every young man who knows his business avoids making advances, knowing well that it will only put the girl off.
 In a society so constituted, what a delightful opening there is for a young man. He would have to waltz perfectly, play tennis fairly, the latest novel would suffice for literary attainments; billiards, shooting, and hunting, would not come in amiss, for he must not be considered a useless being by men; not that women are much influenced by the opinion of men in their choice of favourites, but the reflex action of the heart, although not so marked as that of the stomach, exists and must be kept in view, besides a man who would succeed with women, must succeed with men; the real Lovelace is loved by all. Like gravitation, love draws all things. Our young man would have to be five feet eleven, or six feet, broad shoulders, light brown hair, deep eyes, soft and suggestive, broad shoulders, a thin neck, long delicate hands, a high instep. His nose should be straight, his face oval and small, he must be clean about the hips, and his movements must be naturally caressing. He comes into the ball-room, his shoulders well back, he stretches his hand to the hostess, he looks at her earnestly (it is characteristic of him to think of the hostess first, he is in her house, the house is well-furnished, and is suggestive of excellent meats and wines). He can read through the slim woman whose black hair, a-glitter with diamonds, contrasts with her white satin; an old man is talking to her, she dances with him, and she refused a young man a moment before. This is a bad sign; our Lovelace knows it; there is a stout woman of thirty-five, who is looking at him, red satin bodice, doubtful taste. He looks away; a little blonde woman fixes her eyes on him, she looks as innocent as a child; instinctively our Lovelace turns to his host. “Who is that little blonde woman over there, the right hand corner?” he asks. “Ah, that is Lady — — .” “Will you introduce me?” “Certainly.” Lovelace has made up his mind. Then there is a young oldish girl, richly dressed; “I hear her people have a nice house in a hunting country, I will dance with her, and take the mother into supper, and, if I can get a moment, will have a pleasant talk with the father in the evening.”
 In manner Lovelace is facile and easy; he never says no, it is always yes, ask him what you will; but he only does what he has made up his mind it is his advantage to do. Apparently he is an embodiment of all that is unselfish, for he knows that after he has helped himself, it is advisable to help some one else, and thereby make a friend who, on a future occasion, will be useful to him. Put a violinist into a room filled with violins, and he will try every one. Lovelace will put each woman aside so quietly that she is often only half aware that she has been put aside. Her life is broken; she is content that it should be broken. The real genius for love lies not in getting into, but getting out of love.

* * * *

 I have noticed that there are times when every second woman likes you. Is love, then, a magnetism which we sometimes possess and exercise unconsciously, and sometimes do not possess?

  
Chapter XII
 And now, hypocritical reader, I will answer the questions which have been agitating you this long while, which you have asked at every stage of this long narrative of a sinful life. Shake not your head, lift not your finger, exquisitely hypocritical reader; you can deceive me in nothing. I know the baseness and unworthiness of your soul as I know the baseness and unworthiness of my own. This is a magical tête-à-tête, such a one as will never happen in your life again; therefore I say let us put off all customary disguise, let us be frank: you have been angrily asking, exquisitely hypocritical reader, why you have been forced to read this record of sinful life; in your exquisite hypocrisy, you have said over and over again what good purpose can it serve for a man to tell us of his unworthiness unless, indeed, it is to show us how he may rise, as if on stepping stones of his dead self, to higher things, etc. You sighed, O hypocritical friend, and you threw the magazine on the wicker table, where such things lie, and you murmured something about leaving the world a little better than you found it, and you went down to dinner and lost consciousness of the world in the animal enjoyment of your stomach. I hold out my hand to you, I embrace you, you are my brother, and I say, undeceive yourself, you will leave the world no better than you found it. The pig that is being slaughtered as I write this line will leave the world better than it found it, but you will leave only a putrid carcase fit for nothing but the grave. Look back upon your life, examine it, probe it, weigh it, philosophise on it, and then say, if you dare, that it has not been a very futile and foolish affair. Soldier, robber, priest, Atheist, courtesan, virgin, I care not what you are, if you have not brought children into the world to suffer your life has been as vain and as harmless as mine has been. I hold out my hand to you, we are brothers; but in my heart of hearts I think myself a cut above you, because I do not believe in leaving the world better than I found it; and you, exquisitely hypocritical reader, think that you are a cut above me because you say you would leave the world better than you found it. The one eternal and immutable delight of life is to think, for one reason or another, that we are better than our neighbours. This is why I wrote this book, and this is why it is affording you so much pleasure, O exquisitely hypocritical reader, my friend, my brother, because it helps you to the belief that you are not so bad after all. Now to resume.
 The knell of my thirtieth year has sounded, in three or four years my youth will be as a faint haze on the sea, an illusive recollection; so now while standing on the last verge of the hill, I will look back on the valley I lingered in. Do I regret? I neither repent nor do I regret; and a fool and a weakling I should he if I did. I know the worth and the rarity of more than fifteen years of systematic enjoyment. Nature provided me with as perfect a digestive apparatus, mental and physical, as she ever turned out of her workshop; my stomach and brain are set in the most perfect equipoise possible to conceive, and up and down they went and still go with measured movement, absorbing and assimilating all that is poured into them without friction or stoppage. This book is a record of my mental digestions; but it would take another series of confessions to tell of the dinners I have eaten, the champagne I have drunk! and the suppers! seven dozen of oysters, pâté-de-foie-gras, heaps of truffles, salad, and then a walk home in the early morning, a few philosophical reflections suggested by the appearance of a belated street-sweeper, then sleep, quiet and gentle sleep.
 I have had the rarest and most delightful friends. Ah, how I have loved my friends; the rarest wits of my generation were my boon companions; everything conspired to enable me to gratify my body and my brain; and do you think this would have been so if I had been a good man? If you do you are a fool, good intentions and bald greed go to the wall, but subtle selfishness with a dash of unscrupulousness pulls more plums out of life’s pie than the seven deadly virtues. If you are a good man you want a bad one to convert; if you are a bad man you want a bad one to go out on the spree with. And you, my dear, my exquisite reader, place your hand upon your heart, tell the truth, remember this is a magical tête-à-tête which will happen never again in your life, admit that you feel just a little interested in my wickedness, admit that if you ever thought you would like to know me that it is because I know a good deal that you probably don’t; admit that your mouth waters when you think of rich and various pleasures that fell to my share in happy, delightful Paris; admit that if this book had been an account of the pious books I had read, the churches I had been to, and the good works I had done, that you would not have bought it or borrowed it. Hypocritical reader, think, had you had courage, health, and money to lead a fast life, would you not have done so? You don’t know, no more do I; I have done so, and I regret nothing except that some infernal farmers and miners will not pay me what they owe me and enable me to continue the life that was once mine, and of which I was so bright an ornament. How I hate this atrocious Strand lodging-house, how I long for my apartment in Rue de la Tour des Dames, with all its charming adjuncts, palms and pastels, my cat, my python, my friends, blond hair and dark.
 It was not long before I wearied of journalism; the daily article soon grows monotonous, even when you know it will be printed, and this I did not know; my prose was very faulty, and my ideas were unsettled, I could not go to the tap and draw them off, the liquor was still fermenting; and partly because my articles were not very easily disposed of, and partly because I was weary of writing on different subjects, I turned my attention to short stories. I wrote a dozen with a view to preparing myself for a long novel. Some were printed in weekly newspapers, others were returned to me from the magazines. But there was a publisher in the neighbourhood of the Strand, who used to frequent a certain bar. I saw the chance, and I seized it. This worthy man conducted his business as he dressed himself, sloppily; a dear kind soul, quite witless and quite h-less. From long habit he would make a feeble attempt to drive a bargain, but he generally let himself in: he was, in a word, a literary stepping-stone. Hundreds had made use of him. If a fashionable author asked two hundred pounds for a book out of which he would be certain to make three, it was ten to one that he would allow the chance to drift away from him; but after having refused a dozen times the work of a Strand loafer whom he was in the habit of “treating,” he would say, “Send it in, my boy, send it in, I’ll see what can be done with it.” There was a long counter, and the way to be published by Mr. B. was to straddle on the counter and play with a black cat. There was an Irishman behind this counter who, for three pounds a week, edited the magazine, read the MS., looked after the printer and binder, kept the accounts when he had a spare moment, and entertained the visitors. I did not trouble Messrs. Macmillan and Messrs. Longman with polite requests to look at my MS., but straddled on the counter, played with the cat, joked with the Irishman, was treated by Mr. B., and in the natural order of things my stories went into the magazine, and were paid for. Strange were the ways of this office; Shakespeare might have sent in prose and poetry, but he would have gone into the wastepaper basket had he not previously straddled. For those who were in the swim this was a matter of congratulation; straddling, we would cry, “We want no blooming outsiders coming along interfering with our magazine. And you, Smith, you devil, you had a twenty-page story in last month and cut me out. O’Flanagan, do you mind if I send you in a couple of poems as well as my regular stuff, that will make it all square?” “I’ll try to manage it; here’s the governor.” And looking exactly like the unfortunate Mr. Sedley, Mr. B. used to slouch along, and he would fall into his leather armchair, the one in which he wrote the cheques. The last time I saw that chair it was standing in the street, alas! in the hands of the brokers.
 But conservative though we were in matters concerning “copy,” though all means were taken to protect ourselves against interlopers, one who had not passed the preliminary stage of straddling would occasionally slip through our defences. I remember one especially. It was a hot summer’s day, we were all on the counter, our legs swinging, when an enormous young man entered. He must have been six feet three in height. He was shown into Mr. B.’s room, he asked him to read a MS., and he fled, looking very frightened. “Wastepaper basket, wastepaper basket,” we shouted when Mr. B. handed us the roll of paper. “What an odd-looking fish he is!” said O’Flanagan; “I wonder what his MS. is like.” We remonstrated in vain, O’Flanagan took the MS. home to read, and returned next morning convinced that he had discovered an embryo Dickens. The young man was asked to call, his book was accepted, and we adjourned to the bar.
 A few weeks afterwards this young man took rooms in the house next to me on the ground floor. He was terribly inflated with his success, and was clearly determined to take London by storm. He had been to Oxford, and to Heidelberg, he drank beer and smoked long pipes, he talked of nothing else. Soon, very soon, I grew conscious that he thought me a simpleton; he pooh-poohed my belief in Naturalism and declined to discuss the symbolist question. He curled his long legs upon the rickety sofa and spoke of the British public as the “B.P.,” and of the magazine as the “mag.” There were generally tea-things and jam-pots on the table. In a little while he brought a little creature about five feet three to live with him, and when the little creature and the long creature went out together, it was like Don Quixote and Sancho Panza setting forth in quest of adventures in the land of Strand. The little creature indulged in none of the loud, rasping affectation of humour that was so maddening in the long creature; the little creature was dry, hard, and sterile, and when he did join in the conversation it was like an empty nut between the teeth — dusty and bitter. He was supposed to be going in for the law, but the part of him to which he drew our attention was his knowledge of the Elizabethan dramatists. He kept a pocket-book, in which he held an account of his reading. Holding the pocket-book between finger and thumb, he would say, “Last year I read ten plays by Nash, twelve by Peele, six by Greene, fifteen by Beaumont and Fletcher, and eleven anonymous plays, — fifty-four in all.” He neither praised nor blamed, he neither extolled nor criticised; he told you what he had read, and left you to draw your own conclusions.
 What the little creature thought of the long creature I never discovered, but with every new hour I became freshly sensible that they held me in still decreasing estimation. This, I remember, was wildly irritating to me. I knew myself infinitely superior to them; I knew the long creature’s novel was worthless; I knew that I had fifty books in me immeasurably better than it, and savagely and sullenly I desired to trample upon them, to rub their noses in their feebleness; but oh, it was I who was feeble! and full of visions of a wider world I raged up and down the cold walls of impassable mental limitations. Above me there was a barred window, and, but for my manacles, I would have sprung at it and torn it with my teeth. Then passion was so strong in me that I could scarce refrain from jumping off the counter, stamping my feet, and slapping my friends in the face, so tepid were their enthusiasms, so thin did their understanding appear to me. The Straddlers seemed inclined for a moment to take the long creature very seriously, and in the office which I had marked down for my own I saw him installed as a genius.
 Fortunately for my life and my sanity, my interests were, about this time, attracted into other ways — ways that led into London life, and were suitable for me to tread. In a restaurant where low-necked dresses and evening clothes crushed with loud exclamations, where there was ever an odour of cigarette and brandy and soda, I was introduced to a Jew of whom I had heard much, a man who had newspapers and race horses. The bright witty glances of his brown eyes at once prejudiced me in his favour, and it was not long before I knew that I had found another friend. His house was what was wanted, for it was so trenchant in character, so different to all I knew of, that I was forced to accept it, without likening it to any French memory and thereby weakening the impression. It was a house of champagne, late hours, and evening clothes, of literature and art, of passionate discussions. So this house was not so alien to me as all else I had seen in London; and perhaps the cosmopolitanism of this charming Jew, his Hellenism, in fact, was a sort of plank whereon I might pass and enter again into English life. I found in Curzon Street another “Nouvelle Athènes,” a Bohemianism of titles that went back to the Conquest, a Bohemianism of the ten sovereigns always jingling in the trousers pocket, of scrupulous cleanliness, of hansom cabs, of ladies’ pet names; of triumphant champagne, of debts, gaslight, supper-parties, morning light, coaching; a fabulous Bohemianism; a Bohemianism of eternal hardupishness and eternal squandering of money, — -money that rose at no discoverable well-head and flowed into a sea of boudoirs and restaurants, a sort of whirlpool of sovereigns in which we were caught, and sent eddying through music halls, bright shoulders, tresses of hair, and slang; and I joined in the adorable game of Bohemianism that was played round and about Piccadilly Circus, with Curzon Street for a magnificent rallying point.
 After dinner a general “clear” was made in the direction of halls and theatres, a few friends would drop in about twelve, and continue their drinking till three or four; but Saturday night was gala night — at half-past eleven the lords drove up in their hansoms, then a genius or two would arrive, and supper and singing went merrily until the chimney sweeps began to go by, and we took chairs and bottles into the street and entered into discussion with the policeman. Twelve hours later we struggled out of our beds, and to the sound of church bells we commenced writing. The paper appeared on Tuesday. Our host sat in a small room off the dining-room from which he occasionally emerged to stimulate our lagging pens.
 But I could not learn to see life paragraphically. I longed to give a personal shape to something, and personal shape could not be achieved in a paragraph nor in an article. True it is that I longed for art, but I longed also for fame, or was it notoriety? Both. I longed for fame, fame, brutal and glaring, fame that leans to notoriety. Out with you, liars that you are, tell the truth, say you would sell the souls you don’t believe in, or do believe in, for notoriety. I have known you attend funerals for the sake of seeing your miserable names in the paper. You, hypocritical reader, who are now turning up your eyes and murmuring “horrid young man" — examine your weakly heart, and see what divides us; I am not ashamed of my appetites, I proclaim them, what is more I gratify them; you’re silent, you refrain, and you dress up natural sins in hideous garments of shame, you would sell your wretched soul for what I would not give the parings of my finger-nails for — paragraphs in a society paper. I am ashamed of nothing I have done, especially my sins, and I boldly confess that I then desired notoriety. I walked along the streets mad; I turned upon myself like a tiger. “Am I going to fail again as I have failed before?” I asked myself. “Will my novel prove as abortive as my paintings, my poetry, my journalism?” I looked back upon my life, — mediocrity was branded about my life. “Would it be the same to the end?” I asked myself a thousand times by day, and a thousand times by night. We all want notoriety, our desire for notoriety is hideous if you will, but it is less hideous when it is proclaimed from a brazen tongue than when it hides its head in the cant of human humanitarianism. Humanity be hanged! Self, and after self a friend; the rest may go to the devil; and be sure that when any man is more stupidly vain and outrageously egotistic than his fellows, he will hide his hideousness in humanitarianism. Victor Hugo was hideous with self, and the innermost stench of the humanitarianism he vented about him is unbearable to any stomach, not excepting even Mr. Swinburne’s, who occasionally holds his nose with one hand while he waves the censer with the other. Humanity be hanged! Men of inferior genius, Victor Hugo and Mr. Gladstone, take refuge in it. Humanity is a pigsty, where liars, hypocrites, and the obscene in spirit congregate; it has been so since the great Jew conceived it, and it will be so till the end. Far better the blithe modern pagan in his white tie and evening clothes, and his facile philosophy. He says, “I don’t care how the poor live; my only regret is that they live at all;” and he gives the beggar a shilling.
 We all want notoriety; our desires on this point, as upon others, are not noble, but the human is very despicable vermin and only tolerable when it tends to the brute, and away from the evangelical. I will tell you an anecdote which is in itself an admirable illustration of my craving for notoriety; and my anecdote will serve a double purpose, — it will bring me some of the notoriety of which I am so desirous, for you, dear, exquisitely hypocritical reader, will at once cry, “Shame! Could a man be so wicked as to attempt to force on a duel, so that he might make himself known through the medium of a legal murder?” You will tell your friends of this horribly unprincipled young man, and they will, of course, instantly want to know more about him.
 It was a gala night in Curzon Street, the lords were driving up in hansoms; shouts and oaths; some seated on the roofs with their legs swinging inside; the comics had arrived from the halls; there were ladies, many ladies; choruses were going merrily in the drawing-room; one man was attempting to kick the chandelier, another stood on his head on the sofa. There was a beautiful young lord there, that sort of figure that no woman can resist. There was a delightful chappie who seemed inclined to empty the mustard-pot down my neck; him I could keep in order, but the beautiful lord I saw was attempting to make a butt of me. With his impertinences I did not for a moment intend to put up; I did not know him, he was not then, as he is now, if he will allow me to say so, a friend. About three or half-past the ladies retired, and the festivities continued with unabated vigour. We had passed through various stages, not of intoxication, no one was drunk, but of jubilation; we had been jocose and rowdy, we had told stories of all kinds. The young lord and I did not “pull well together,” but nothing decidedly unpleasant occurred until someone proposed to drink to the downfall of Gladstone. The beautiful lord got on his legs and began a speech. Politically it was sound enough, but much of it was plainly intended to turn me into ridicule. I answered sharply, working gradually up crescendo, until at last, to bring matters to a head, I said,
 “I don’t agree with you; the Land Act of ’81 was a necessity.”
 “Anyone who thinks so must be a fool.”
 “Very possibly, but I don’t allow people to address such language to me, and you must be aware that to call anyone a fool, sitting with you at table in the house of a friend, is the act of a cad.”
 There was a lull, then a moment after he said,
 “I only meant politically.”
 “And I only meant socially.”
 He advanced a step or two and struck me across the face with his finger tips; I took up a champagne bottle, and struck him across the head and shoulders. Different parties of revellers kept us apart, and we walked up and down on either side of the table swearing at each other. Although I was very wrath, I had had a certain consciousness from the first that if I played my cards well I might come very well out of the quarrel; and as I walked down the street I determined to make every effort to force on a meeting. If the quarrel had been with one of the music hall singers I should have backed out of it, but I had everything to gain by pressing it. I grasped the situation at once. All the Liberal press would be on my side, the Conservative press would have nothing to say against me, no woman in it and a duel with a lord in it would be carrion for the society papers. But the danger? To the fear of death I do not think I was ever susceptible. I should have been afraid of a row with a music hall singer, because I should have had much to lose by rowing with him, but as matters stood I had too much to gain to consider the possibilities of danger. Besides there was no need to consider. I knew very well there was no reality in it. I had broken sixteen plates consecutively at the order to fire dozens of times; and yet it was three to one against my shooting a man at twenty paces; so it was ten thousand to one against a man, who had probably only fired off a revolver half-a-dozen times in a back yard, hitting me. In the gallery you are firing at white on black, on the ground you are firing at black upon a neutral tint, a very different matter. In the gallery there is nothing to disturb you; there is not a man opposite you with a pistol in his hand. In the gallery you are calm and collected, you have risen at your ordinary hour, you are returning from a stroll through the sunlight; on the ground your nerves are altered by unusual rising, by cold air, by long expectation. It was three to one against my killing him, it was a hundred to one against his killing me. So I calculated the chances, so much as I took the trouble to calculate the chances, but in truth I thought very little of them; when I want to do anything I do not fear anything, and I sincerely wanted to shoot this young man. I did not go to bed at once, but sat in the armchair thinking. Presently a cab came rattling up to the door, and one of the revellers came upstairs. He told me that everything had been arranged; I told him that I was not in the habit of allowing others to arrange my affairs for me, and went to bed. One thing, and only one thing puzzled me, who was I to ask to be my second? My old friends were scattered, they had disappeared; and among my new acquaintances I could not think of one that would do. None of the Straddlers would do, that was certain; I wanted some one that could be depended upon, and whose social position was above question. Among my old friends I could think of some half-dozen that would suit me perfectly, but where were they? Ten years’ absence scatters friends as October scatters swallows. At last my thoughts fixed themselves on one man. I took a hansom and drove to his house. I found him packing up, preparing to go abroad. This was not fortunate. I took a seat on the edge of the dining-room table, and told him I wanted him to act for me in an affair of honour. I told him the story in outline. “I suppose,” he said, “it was about one or two in the morning?”
 “Later than that,” I said; “it was about seven.”
 “My dear fellow, he struck you, and not very hard, I should imagine; you hit him with a champagne bottle, and now you want to have him out. I don’t mind acting as intermediary, and settling the affair for you; he will no doubt regret he struck you, and you will regret you struck him; but really I cannot act for you, that is to say, if you are determined to force on a meeting. Just think; supposing you were to shoot him, a man who has really done you no wrong.”
 “My dear — — , I did not come here to listen to moral reflections; if you don’t like to act for me, say so.”
 I telegraphed to Warwickshire to an old friend: — "Can I count on you to act for me in an affair of honour?” Two or three hours after the reply came. “Come down here and stay with me for a few days, we’ll talk it over.” I ground my teeth; what was to be done? I must wire to Marshall and ask him to come over; English people evidently will have nothing to do with serious duelling. “Of all importance. Come over at once and act for me in an affair of honour. Bring the count with you; leave him at Boulogne; he knows the colonel of the — — .” The next day I received the following: “Am burying my father; so soon as he is underground will come.” Was there ever such luck?... He won’t be here before the end of the week. These things demand the utmost promptitude. Three or four days afterwards dreadful Emma told me a gentleman was upstairs taking a bath. “Holloa, Marshall, how are you? Had a good crossing? Awful good of you to come. ... The poor old gentleman went off quite suddenly, I suppose?”
 “Yes; found dead in his bed. He must have known he was dying, for he lay quite straight as the dead lie, his hands by his side ... wonderful presence of mind.”
 “He left no money?”
 “Not a penny; but I could manage it all right. Since my success at the Salon, I have been able to sell my things. I am only beginning to find out now what a success that picture was. Je t’assure, je fais l’école."...
 ” Tu crois ça ... on fait l’école après vingt ans de travail.”
 ” Mon ami, je t’assure, j’ai un public qui me suit.”
 ” Mon ami, veux-tu que je te dis ce que tu a fait; tu a fait encore une vulgarization, une jolie vulgarization, je veux bien, de la note inventée par Millet; tu a ajouté la note claire inventée par Manet, enfin tu suis avec talent le mouvement moderne, voilà tout.”
 ” Parlons d’autre chose: sur la question d’art on ne s’entend jamais.”
 When we were excited Marshall and I always dropped into French.
 “And now tell me,” he said, “about this duel.”
 I could not bring myself to admit, even to Marshall, that I was willing to shoot a man for the sake of the notoriety it would bring me, not because I feared in him any revolt of conscience, but because I dreaded his sneers; he was known to all Paris, I was an obscure something, living in an obscure lodging in London. Had Marshall suspected the truth he would have said pityingly, “My dear Dayne, how can you be so foolish? why will you not be contented to live?” etc. ... Such homilies would have been maddening; he was successful, I was not; I knew there was not much in him, un feu de paille, no more, but what would I not have done and given for that feu de paille? So I was obliged to conceal my real motives for desiring a duel, and I spoke strenuously of the gravity of the insult and the necessity of retribution. But Marshall was obdurate. “Insult?” he said. “He hit you with his hand, you hit him with the champagne bottle; you can’t have him out after that, there is nothing to avenge, you wiped out the insult yourself; if you had not struck him with the champagne bottle the case would be different.”
 We went out to dine, we went to the theatre, and after the theatre we went home and aestheticised till three in the morning. I spoke no more of the duel, I was sick of it; luck, I saw, was against me, and I let Marshall have his way. He showed his usual tact, a letter was drawn up in which my friend withdrew the blow of his hand, I withdrew the blow of the bottle, and the letter was signed by Marshall and two other gentlemen.
 Hypocritical reader, you draw your purity garments round you, you say, “How very base;” but I say unto you remember how often you have longed, if you are a soldier in her Majesty’s army, for war, — war that would bring every form of sorrow to a million fellow-creatures, and you longed for all this to happen, because it might bring your name into the Gazette. Hypocritical reader, think not too hardly of me; hypocritical reader, think what you like of me, your hypocrisy will alter nothing; in telling you of my vices I am only telling you of your own; hypocritical reader, in showing you my soul I am showing you your own; hypocritical reader, exquisitely hypocritical reader, you are my brother, I salute you.
 Day passed over day: I lived in that horrible lodging; I continued to labour at my novel; it seemed an impossible task — defeat glared at me from every corner of that frouzy room. My English was so bad, so thin, — stupid colloquialisms out of joint with French idiom. I learnt unusual words and stuck them up here and there; they did not mend the style. Self-reliance had been lost in past failures; I was weighed down on every side, but I struggled to bring the book somehow to a close. Nothing mattered to me, but this one thing. To put an end to the landlady’s cheating, and to bind myself to remain at home, I entered into an arrangement with her that she was to supply me with board and lodgings for three pounds a week, and henceforth resisting all Curzon Street temptations, I trudge home through November fogs, to eat a chop in a frouzy lodging-house. I studied the horrible servant as one might an insect under a microscope. “What an admirable book she would make, but what will the end be? if I only knew the end!” I had more and more difficulty in keeping the fat landlady at arm’s length, and the nasty child was well beaten one day for lingering about my door. I saw poor Miss L. nightly, on the stairs of this infamous house, and I never wearied of talking to her of her hopes and ambitions, of the young man she admired. She used to ask me about my novel.
 Poor Miss L.! Where is she? I do not know, but I shall not forget the time when I used to listen for her footstep on the midnight stairs. Often I was too despondent, when my troubles lay too heavily and darkly upon me, I let her go up to her garret without a word. Despondent days and nights when I cried, Shall I never pass from this lodging? shall I never be a light in that London, long, low, misshapen, that dark monumental stream flowing through the lean bridges; and what if I were a light in this umber-coloured mass, — shadows falling, barges moored midway in a monumental stream? Happiness abides only in the natural affections — in a home and a sweet wife. Would she whom I saw to-night marry me? How sweet she was in her simple naturalness, the joys she has known have been slight and pure, not violent and complex as mine. Ah, she is not for me, I am not fit for her, I am too sullied for her lips. ... Were I to win her could I be dutiful, true?...
 “Young men, young men whom I love, dear ones who have rejoiced with me, not the least of our pleasures is the virtuous woman; after excesses there is reaction, all things are good in nature, and they are foolish young men who think that sin alone should be sought for. The feast is over for me, I have eaten and drunk; I yield my place, do you eat and drink as I have; do you be young as I was. I have written it! The word is not worth erasure, if it is not true to-day it will be in two years hence; farewell! I yield my place, do you be young as I was, do you love youth as I did; remember you are the most interesting beings under heaven, for you all sacrifices will be made, you will be fêted and adored upon the condition of remaining young men. The feast is over for me, I yield my place, but I will not make this leavetaking more sorrowful than it is already by afflicting you with advice and instruction how to obtain what I have obtained. I have spoken bitterly against education, I will not strive to educate you, you will educate yourselves. Dear ones, dear ones, the world is your pleasure, you can use it at your will. Dear ones, I see you all about me still, I yield my place; but one more glass I will drink with you; and while drinking I would say my last word — were it possible I would be remembered by you as a young man: but I know too well that the young never realise that the old were not born old. Farewell.”
 I shivered; the cold air of morning blew in my face, I closed the window, and sitting at the table, haggard and overworn, I continued my novel.

 THE END.