BOOK ONE
LOTHIAN IN LONDON

 
"Myself, arch traitor to myself,
My hollowest friend, my deadliest foe,
My clog whatever road I go."
 

CHAPTER I
UNDER THE WAGGON-ROOF. A DINNER IN BRYANSTONE SQUARE

 
"Le véritable Amphitryon est l'Amphitryon où l'on dine."
 

– Molière.

It was a warm night in July when Mr. Amberley, the publisher, entertained a few friends at dinner to meet Gilbert Lothian, the poet.

Although the evening was extremely sultry and the houses of the West End were radiating the heat which they had stored up from the sun-rays during the day, Mr. Amberley's dining room was deliciously cool.

The house was one of those roomy old-fashioned places still to be found unspoiled in Bryanstone Square, and the dining room, especially, was notable. It was on the first floor, over-looking the square, a long and lofty room with a magnificent waggon-roof which was the envy of every one who saw it, and gave the place extraordinary distinction.

The walls were panelled with oak, which had been stained a curious green, that was not olive nor ash-green but partook of both – the veritable colour, indeed, of the grey-green olive trees that one sees on some terrace of the Italian Alps at dawn.

The pictures were very few, considering the size of the room, and they were all quite modern – "In the movement" – as shrewd Mr. Amberley was himself.

A portrait of Mrs. Amberley by William Nicholson, which was quite famous in its way, displayed all the severe pregnancy and almost solemn reserve of this painter. There was a pastel of Prydes' which showed – rather suggested – a squalid room in which a gentleman of 1800, with a flavour of Robert Macaire about him, stood in the full rays of the wine and honey-coloured light of an afternoon sun.

Upon yet another panel was a painting upon silk by Charles Conder, inspired of course, by Watteau, informed by that sad and haunting catching after a fairyland never quite reached, which is the distinctive note of Conder's style, and which might well have served for an illustration to a grotesque fantasy of Heine.

Mrs. Amberley loved this painting. She had a Pater-like faculty of reading into – or from – a picture, something which the artist never thought about at all, and she used to call this little masterpiece "An Ode of Horace in Patch, Powder and Peruque!" She adored these perfectly painted little snuff-box deities who wandered through shadowy mists of amethyst and rouge-de-fer in a fantastic wood.

It is extremely interesting to discover, know of, or to sit at ease in a room which, in its way, is historic, and this is what the Amberleys' guests always felt, and were meant to feel.

In its present form, and with its actual decorations, this celebrated room only dated from some fifteen years back. The Waggon-roof alone remained unaltered from its earlier periods.

The Publishing house of Ince and Amberley had been a bulwark of the Victorian era, and not without some growing celebrity in the earlier Georgian Period.

Lord Byron had spoken well of the young firm once, Rogers was believed to have advanced them money, and when that eminent Cornish pugilist "The Lamorna Cove" wrote his reminiscences they were published by Ince and Amberley, while old Lord Alvanley himself contributed a preface.

From small beginnings came great things. The firm grew and acquired a status, and about this time, or possibly a little later, the dining-room at Bryanstone Square had come into being.

Its walls were not panelled then in delicate green. They were covered with rich plum-coloured paper festooned by roses of high-gilt. In the pictures, with their heavy frames of gold, the dogs and stags of Landseer were let loose, or the sly sleek gipsies of Mr. Frith told rustic fortunes beneath the spreading chestnut trees.

But Browning had dined there – in the later times – an inextinguishable fire just covered with a sprinkling of grey ash. With solemn ritual, Charles Dickens had brewed milk punch in an old bowl of Lowestoft china, still preserved in the drawing-room. The young Robert Cecil, in his early Saturday Review days, had cracked his walnuts and sipped his "pint of port" with little thought of the high destiny to which he should come, and Alfred Tennyson, then Bohemian and unknown, had been allowed to vent that grim philosophy which is the reaction of all imaginative and sensitive natures against the seeming impossibility of success and being understood.

The traditions of Ince and Amberley – its dignified and quiet home was in Hanover Square – had always been preserved.

Its policy, at the same time, had continually altered with the passage of years and the change of the public taste. Yet, so carefully, and indeed so genuinely, had this been accomplished that none of the historic prestige of the business had been lost. It still stood as a bulwark of the old dignified age. A young modern author, whatever his new celebrity, felt that to be published by Ince and Amberley hall-marked him as it were.

Younger firms, greedy of his momentary notoriety, might offer him better terms – and generally did – but Ince and Amberley conferred the Accolade!

He was admitted to the Dining Room.

John Amberley (the Inces had long since disappeared), at fifty was a great publisher, and a charming man of the world. He was one of the personalities of London, carrying out what heredity and natural aptitude had fitted him to do, and was this evening entertaining some literary personages of the day in the famous Dining Room.

The Waggon-roof, which had looked down upon just such gatherings as these for generations, would, if it could have spoken, have discovered no very essential difference between this dinner party and others in the past. True, the walls were differently coloured and pictures which appealed to a different set of artistic conventions were hanging upon them.

The people who were accustomed to meet round the table in 19 – were not dressed as other gatherings had been. There was no huge silver epergne in the centre of that table now. Nor did the Amberley at one end of it display his mastery of ritual carving.

But the talk was the same. Words only were different. The guests' vocabularies were wider and less restrained. It was the music of piano and the pizzicato plucking of strings – there was no pompous organ note, no ore rotundo any more. They all talked of what they had done, were doing, and hoped to do. There was a hurry of the mind, inherent in people of their craft and like a man running, in all of them. The eyes of some of them burned like restless ghosts as they tried to explain themselves, display their own genius, become prophets and acquire honour in the heart of their own country.

Yes! it had always been so!

The brightest and most lucent brains had flashed into winged words and illuminated that long handsome room.

And ever, at the head of the long table, there had been a bland, listening Amberley, catching, tasting and sifting the idea, analysing the constituents of the flash, balancing the brilliant theory against the momentary public taste. A kind, uncreative, managing Amberley! A fair and honest enough Amberley in the main. Serene, enthroned and necessary.

The publisher was a large man, broad in the shoulder and slightly corpulent. There was something Georgian about him – he cultivated it rather, and was delighted when pleated shirts became again fashionable for evening wear. He had a veritable face of the Regency, more especially in profile, sensual, fine, a thought gluttonous and markedly intelligent.

His voice was authoritative but bland, and frequently capable of a sympathetic interest which was almost musical. His love of letters was deep and genuine, his taste catholic and excellent, while many an author found real inspiration and intense pleasure in his personal praise.

This was the cultured and human side of him, and he had another – the shrewd business man of Hanover Square.

He was not, to use the slang of the literary agent, a "knifer." He paid die market price without being generous and he was perfectly honest in all his dealings.

But his business in life was to sell books, and he permitted himself no experiments in failure. A writer – whether he produced good work or popular trash – must generally have his definite market and his more or less assured position, before Ince and Amberley would take him up.

It was distinctly something for a member of the upper rank and files to say in the course of conversation, "Ince and Amberley are doing my new book, you know."

To-night Amberley, as he sat at the head of his table towards the close of dinner, was in high good humour, and very pleasant with himself and his guests.

The ladies had not yet gone away, coffee was being served at the table, and almost every one was smoking a cigarette. The party was quite a small one. There were only five guests, who, with Mr. and Mrs. Amberley and their only daughter Muriel, made up eight people in all. There was nothing ceremonious about it, and, though three of the guests were well known in the literary world, none of these were great, while the remaining couple were merely promising beginners.

There was, therefore, considerable animation and gaiety round this hospitable table, with its squat candlesticks, of dark-green Serpentine and silver, the topaz-coloured shades, its gleaming surface of dark mahogany (Mrs. Amberley had eagerly adopted the new habit of having no white table-cloth), its really interesting old silver, and the square mats of pure white Egyptian linen in front of each person.

In age, with the exception of Mr. Amberley and his wife, every one was young, while both host and hostess showed in perfection that modern grace of perfect correspondence with environment which seems to have quite banished the evidences of time's progress among the folk of to-day who know every one, appreciate everything and are extremely well-to-do.

On Amberley's right hand sat Mrs. Herbert Toftrees, while her husband was at the other end of the table at the right hand of his hostess – Gilbert Lothian, the guest of the evening, being on Mrs. Amberley's left.

Mr. and Mrs. Toftrees were novelists whose combined names were household words all over England. Their books were signed by both of them – "Enid and Herbert Toftrees" and they were quite at the head of their own peculiar line of business. They knew exactly what they were doing – "selling bacon" they called it to their intimate friends – and were two of the most successful trades-people in London. Unlike other eminent purveyors of literary trash they were far too clever not to know that neither of them had a trace of the real fire, and if their constant and cynical disclaimer of any real talent sometimes seemed to betray a hidden sore, it was at least admirably truthful.

They were shallow, clever, amusing people whom it was always pleasant to meet. They entertained a good deal and the majority of their guests were literary men and women of talent who fluttered like moths round the candle of their success. The talented writers who ate their dinners found a bitter joy in cursing a public taste which provided the Toftrees with several thousands a year, but they returned again and again, in the effort to find out how it was done.

They also had visions of just such another delightful house in Lancaster Gate, an automobile identical in its horse-power and appointments, and were certain that if they could only learn the recipe and trick, wrest the magic formula from these wizards of the typewriter, all these things might be theirs also!

The Herbert Toftrees themselves always appeared – in the frankest and kindest way – to be in thorough sympathy with such aspirations. Their candour was almost effusive. "Any one can do what we do" was their attitude. Herbert Toftrees himself, a young man with a rather carefully-cultivated, elderly manner, was particularly impressive. He had a deep voice and slow enunciation, which, when he was upon his own hearthrug almost convinced himself.

"There is absolutely no reason," he would say, in tones which carried absolute conviction to his hearer at the moment, "why you shouldn't be making fifteen hundred a year in six months."

But that was as far as it went. That was the voice of the genial host dispensing wines, entrées and advice, easy upon his own hearth, the centre of the one picture where he was certain of supremacy.

But let eager and hungry genius call next day for definite particulars, instructions as to the preparations of a "popular" plot, hints as to the shop-girl's taste in heroines, – with hopes of introductory letters to the great firms who buy serials – and the greyest of grey dawns succeeded the rosy-coloured night.

It was all vague and cloudy now. General principles were alone vouchsafed – indeed who shall blame the tradesman for an adroit refusal to give away the secrets of the shop?

Genius retired – it happened over and over again – cursing successful mediocrity for its evasive cleverness, and with a deep hidden shame that it should have stooped so low, and so ineffectually! .. "That's very true. What Toftrees says is absolutely true," Mr. Amberley said genially, turning to young Dickson Ingworth, who was sitting by his daughter Muriel.

He nodded to the eager youth with a little private encouragement and hint of understanding which was very flattering. It was as who should say, "Here you are at my house. For the first time you have been admitted to the Dining Room. I have taken you up, I am going to publish a book of yours and see what you are made of. Gather honey while you may, young Dickson Ingworth!"

Ingworth blushed slightly as the great man's encouraging admonitions fell upon him. He was not down from Oxford more than a year. He had written very little, Gilbert Lothian was backing him and introducing him to literary circles in town, he was abnormally conscious of his own good fortune, all nervous anxiety to be adequate – all ears.

"Yes, sir," he said, with the pleasant boyish deference of an undergraduate to the Provost of his college – it sat gracefully upon his youth and was gracefully said.

Then he looked reverentially at Toftrees and waited to hear more.

Herbert Toftrees' face was large and clean shaven. His sleek hair was smoothly brushed over a somewhat protruding forehead. There was the coarse determined vigour about his brow that the bull-dog jaw is supposed to indicate in another type of face, and the eyes below were grey and steadfast. Toftrees stared at people with tremendous gravity. Only those who realised the shrewd emptiness behind them were able to discern what some one had once called their flickering "R.S.V.P. expression" – that latent hope that his vis-à-vis might not be finding him out after all!

"I mean it," Toftrees said in his resonant, and yet quiet voice. "There really is no reason, Mr. Ingworth, why you should not be making an income of at least eight or nine hundred a year in twelve months' time."

"Herbert has helped such a lot of boys," said Mrs. Toftrees, confidentially, to her host, although there was a slight weariness in her voice, the suggestion of a set phrase. "But who is Mr. Dickson Ingworth? What has he done? – he is quite good-looking, don't you think?"

"Oh, a boy, a mere boy!" the big red-faced publisher purred in an undertone. "Lothian brought him to me first in Hanover Square. In fact, Lothian asked if he might bring him here to-night. We are doing a little book of his – the first novel he will have had published."