Some Persons Unknown

by E. W. Hornung

A LITERARY COINCIDENCE

It was twenty-five minutes past eight, and a fine October morning, when Mr. Wolff Mason, the popular novelist and editor of Mayfair, emerged from the dressing-room of his house in Kensington and came downstairs dabbing his chin with his clean pocket-handkerchief. The day had begun badly with the man of letters, whose boast it was that he had shaved for upwards of forty years without cutting himself anything like forty times. He entered the dining-room with a comically rueful expression on his kindly humorous face, and with a twitching behind the spectacles which would have led those who knew him best to prick their ears for one of the delightful things which the novelist was continually saying at his own expense. His face fell, however, when he found no one in the room but the maid who was lighting the wick beneath the plated kettle on the breakfast table.

"Has Miss Ida not come down yet?"

"Not that I know of, sir. Shall I go and see?"

"Oh, never mind, never mind," said the novelist, cursorily examining the letters on his plate, and opening none of them. "Well, upon my word, I don't know what has come over Ida," he added to himself, as he undid the fastenings of the French window which led down iron steps into the little London garden behind the house. "Yesterday morning she ran it pretty fine. The day before she was a good minute late. Of course she may be in time yet, but I do wish I could teach her to be five minutes early for everything, as I am. Ida is worse than either of her sisters in this respect; and she began by being the best of the three."

Wolff Mason sighed as he thought of his daughters. The two elder ones were married and settled, very comfortably, it is true; but if Ida followed their example, what on earth was to become of her unfortunate father? Who was to typewrite his manuscript, and correct his proofs, and peel the stamps from the enclosed envelopes of the people who wrote for the novelist's autograph? No, he could not do without Ida at any price; and Mr. Mason shook his head as he passed out into the fresh air and down the iron steps into the garden. He did more: he shook his daughters, and all creatures of mere flesh and blood, quite out of his mind.

For it was Wolff Mason's habit to spend five minutes in the garden, every morning before breakfast, when it was fine; and when it was not, to walk round the breakfast table four-and-twenty times. That filled the five minutes which he always spent in the exclusive company of the characters of his current novel. He had been heard to say that he did his day's work in those five minutes; that at the office, where he worked at his novel all the morning, he had only to sit with his pen in his hand for three hours, and fifteen hundred words of fiction was the inevitable result. That part was purely mechanical, the novelist said. He had really written it in the five minutes before breakfast. It is not generally known, however, how curiously Wolff Mason delighted in humorous depreciation of his own work and methods. One would have liked his critics to hear him on the subject; they took his writings so very much more seriously than he did himself, that they little dreamt how highly their clever elaborate reviews entertained the philosophic object of their censure. It was an open secret that Wolff Mason professed a wholesome and unaffected disregard for posterity and the critics; but if the books that delighted two generations are forgotten by a third, their writer will certainly be remembered as the most charming talker, the kindest-hearted editor, and the most methodical man of letters of his day.

To method and to habit, indeed, the novelist had been a slave all his literary life. This he admitted quite freely. On the other hand, he argued that as his habits were all good ones in themselves (with the possible exception of that ounce of tobacco which he managed to consume daily), while his methods produced a not wholly unsuccessful result, the slavery suited him very well. Certainly it was good to be five minutes early for everything, and to start most things as the clocks were striking. The dining-room clock struck the half-hour after eight as Mr. Mason re-entered and shut the French window behind him. He had thought out the half-chapter for that day with even more than his customary minute prevision. This was all very good indeed. It was bad, however, that he should find himself now quite alone in the room, with the hot plates and the bacon growing cold, the kettle steaming furiously over the thin blue flame, and no Ida to make the tea.

Mr. Mason took up his position with an elbow on the mantel-piece and one foot to the fire, and stared solemnly at the clock. It was a worse case than yesterday. Two, three, four minutes passed. Then there was a rustle in the hall; light, quick footsteps ran across the room, and a nervous little hand was laid upon the novelist's shoulder. In another instant he was looking down into great dark eyes filled with the liveliest contrition, and making a mental note of the little black crescents underneath.

"Dear father, can you forgive me?"

"I'll try to, my dear, since you look so—penitent."

He had been about to say "pale." As he kissed the girl's cheek, its pallor was indeed conspicuous. As a rule she had the loveliest colour, which harmonised charmingly with the sweet clear brown of her eyes and hair. Ida Mason was in fact a very beautiful and graceful girl, but lately she had grown thin and quiet, and the salt was gone out of her in many subtle ways which did not escape the spectacles of that trained observer, her father. Mr. Mason glanced over the Times while his tea was being made, and knew all that was in it before his cup was poured out, the bacon on his plate, and the toast-rack set within easy reach of his hand.

"A singularly dull paper," said he, as he flung it aside and Ida sat down.

"Yes?"

"It is absolutely free from news. At this time of year there's more fun in the papers that lend themselves to egregious contributions from the public. I see, however, that Professor Palliser died last night——"

"How dreadful!"

"In his ninety-third year," added Mr. Mason, dryly, to his own sentence.

"I'm afraid I was thinking of someone else," said Ida lamely.

"Of me, my dear? Then I will take another piece of sugar, if you don't object. The fact is, you didn't give me any at all. No, that's the salt!"

Ida laughed nervously. "I am so stupid this morning! Please forgive me, dear father."

"I hope there is nothing the matter?"

"Nothing at all."

"That's right. I fear that the religious novel is to have a most undesirable vogue. The Times reviews three in one column. We have to thank 'Robert Elsmere' for this."

"And 'Humphry Ward, Preacher,'" suggested Ida.

The novelist arched his eyebrows and bent forward over his plate. "Exactly," said he, after a slight pause. He did not look at his daughter. Otherwise he would have seen that she was eating nothing, and that her eyes were full of tears. It was plain to him, however, that for some reason or other, into which it was not his business to inquire, it would be unkind to press further conversation upon Ida, whom he merely thanked more affectionately than usual for moving his plate and for pouring out his second cup of tea. Over breakfast the novelist always took half an hour precisely. The clock was striking nine when he rose from the table and went upstairs to take leave of his wife.

Mrs. Mason was a sweet, frail woman of sixty, who for years had breakfasted in her own room. Without being actually an invalid, she owed it to her quiet mornings upstairs that she was still able to see her friends in the afternoon, and to dine out at moderate intervals. For five-and-thirty years his wife had been Wolff Mason's guardian angel. On her wedding-day she had been just as proud of her unknown bridegroom as she was now of the celebrated littérateur, and had loved the stalwart young fellow of eight-and-twenty only less dearly than the white old man of sixty-three. He found her with her tea and toast growing cold on the bed-table at her side; she was reading Ida's typewritten copy of the novel upon which he himself was then engaged.

"My dear Wolff," Mrs. Mason exclaimed, greeting her husband with the enthusiastic smile which had inspired and consoled him in the composition of so many works of fiction, "I am delighted with these last chapters! You have never done better: you might have written the love scenes thirty years ago. But you look put out, dear Wolff. Have they been stupid downstairs?"

"We are all stupid to-day, including my dear wife if she really thinks much of my love scenes. I cut myself shaving, to begin with. Then Ida was late for breakfast—four long minutes late—and for the third time this week. I am put out, and it's about Ida. It is not only that she is late, but there are rings under her eyes, and she forgets the sugar in your tea, and when you ask for it hands you the salt, and when you speak to her she answers inanely. She pulled a long face when I told her that Professor Palliser died last night, though the poor dear old gentleman has been on a public death-bed these eighteen months. She came a fearful howler over a book which she herself has read, to my knowledge, within the last fortnight. For the life of me I can't think what ails her."

"Can you not?"

Mrs. Mason had put down the typewritten sheets, and lay gazing at her husband with gentle shrewdness in her kind eyes.

"No, I cannot," said the novelist, defiantly.

"Have you quite forgotten Saltburn-by-the-Sea?"

"I am certainly doing my best to forget it, my dear; a deadlier fortnight I never spent in my life. Not a decent library in the place, nor a man in the hotel who knew more than the mere alphabet of whist! Why remind me of it, my love?"

"Because that's what ails Ida. She is suffering from the effects of Saltburn-by-the-Sea."

"My dear Margaret, I simply don't believe it!"

"But I know it, Wolff. Do listen to reason. Dear Ida has told me everything, and I am sorry to say she is very sadly in love."

"In love with whom?" cried the novelist, who had been pacing up and down the room, after the manner of his kind, but who stopped now at the foot of the bed, to spread his hands out eloquently. "With that young Overton?"

"With that young Overman. You were so short and sharp with him, you see, that you never even mastered his name."

"I was naturally short and sharp with a young fellow whom she had only seen two or three times in her life—once on the pier, once in the gardens, once or twice about the hotel. It was a piece of confounded presumption! We didn't even know who or what the fellow was!"

"He put you in the way of finding out, and you said you didn't want to know."

"No more I did," said Wolff Mason.

"You liked him well enough before he proposed to Ida."

"That may be. He had more idea of whist than any of the others, which is saying precious little. But his proposal was a piece of infernal impertinence, and I told him so."

"I am sorry you told him so, Wolff," said Mrs. Mason softly. "However, the affair is quite a thing of the past. You put a stop to it pretty effectually, and I daresay it was for the best. Only it is right you should know that young Overman and Ida met in Oxford Street yesterday, and that she has not slept all night for thinking about him."

"The villain!" cried Wolff Mason, excitedly. "I suppose he asked her to run away with him?"

"They did not speak. I was with Ida," said his wife. "It was the purest accident. Ida bowed—indeed, so did I—and he took off his hat, but no one stopped or spoke. Ida is troubled because he looked extremely wretched; even I can see his eyes now as they looked when we passed him. However, as I say, you put a stop to the matter, and they must both get over it as best they can. I have never blamed you, I think. It was very premature, I grant you. My only feeling has been that, as a writer of romance all your days, you showed remarkably little sympathy with a pair of sufficiently romantic young lovers!"

"My dear, I choose to keep romance in its proper place—between the covers of my books. I have more than enough of it there, I can assure you, if I could afford to consult my own taste."

"You can't put in too much of it to suit mine. Your love-story has been the strong point in all your novels, Wolff, and it is still. This new one is of your very best in that respect. I foresee a sweet scene in the boat-house."

"I am in the middle of it now," the novelist said, complacently.

"I have visions of the old general turning up when she is in his arms. I do hope you won't let him, Wolff."

"How well you know my work, my love! The general came in and caught them just before I wiped my pen yesterday. It ended the chapter very nicely. I was in good form at lunch."

"And what is going to happen to-day?"

"Can you ask? The general blusters. George behaves like a gentleman, and scores all down the line, for the time being."

"But surely she is allowed to marry him in the end?"

"She always is, my dear, in my books."

Mrs. Mason cast upon her husband a fixed look which turned slowly into a sweet, grave smile. He was still standing at the foot of the bed, but now he was leaning on the brass rail, with his hands folded quietly, and a good-humoured twinkle in his eyes.

Whatever he might say about his own books at the club, he enjoyed chatting them over with his wife as keenly as in the dear early days when his first book and their eldest daughter appeared simultaneously. He had forgotten Ida for the moment, and the pleasant though impossible young man at the sea-side; but Mrs. Mason did not mean that moment to be prolonged.

"Ah," said she, "in your books! Twice you have allowed the heroine to marry the hero in your life too."

"I was under the impression, my dear, that we were talking about my books."

"But I am thinking about Ida. You needn't look at the clock, Wolff. You know very well that you never leave the house before ten minutes past, and it isn't five past yet. You may look at your watch if you like, but you will see that my clock is, if anything, fast. I say that you raised no opposition in the case of either Laura or Hetty."

"Didn't I?" exclaimed the novelist with a grim chuckle. "By Jove, I did my worst! If that wasn't very bad you must remember that we knew all about Charles and Macfarlane. It wasn't like young Overton. By Jove, no!"

"Young Overman's is better romance," murmured Mrs. Mason.

"Therefore, it is worse real life. I do wish you would see with me that the two things clash if you try to bring them together. Frankly, my dear, I wish you wouldn't try. I make a point of never doing so—that's why I don't live over the shop."

"Wolff, Wolff, say that sort of thing at your club! With me you can afford to be sincere. Why, you have put Ida's hair and eyes into every book you have written since she grew up. The things don't clash. If you borrow from Ida for your books, I think you ought to be prepared to pay her back out of your books too, and allow her to live happily ever after, like all the rest of your heroines."

There were moments when Wolff Mason realised that the one-sided game of letters has a bad effect on the argumentative side of a man's mind. The present was one. He looked again at his watch, and replaced it very hurriedly in his waistcoat pocket.

"My dear, I really must be going."

"One minute more—just one," pleaded Mrs. Mason, and her voice was as soft as ever it had been thirty years ago. "I want your hand, Wolff!"

The novelist came round to the bedside and sat down for a few moments on the edge. During those few moments two frail, worn, thin hands were joined together, and Wolff Mason's spectacles showed him a moisture in his wife's eyes—not tears, but a shining film which only made them more lovely and sweet and kind. That film had come over them in the old days when they were both young and he had told her of his love. On very rare occasions he had described it in the eyes of his dark-eyed heroines, and never without a hotness in his own. He rose suddenly. His hand was pressed.

"You will reconsider it, Wolff?"

"My dear, she is our last."

"My love, we have each other!"

Some moments later, when Wolff Mason had closed the door behind him, he had to open it again to hear what it was that his wife was calling after him.

"Mind you don't make the general too inhuman, Wolff, or I shall be so disappointed in you both!"

The novelist laughed. So did his wife. The secret of their complete happiness was not love alone. It was love and laughter.

Nevertheless, Wolff Mason drove to the office of the Mayfair Magazine in a less literary frame of mind than he either liked or was addicted to at this early hour of the day. It is not true that the novelist constructed all his stories in the hansom which deposited him in Paternoster Row at a quarter to ten every morning, and in front of his own door at a quarter-past seven in the evening. That was the invention of the lady journalists who wrote paragraphs about Wolff Mason for the evening papers—those paragraphs his old-world soul abhorred. It is a fact, however, that he liked to get out of his hansom with more ideas than he had taken into it. He made it a rule to think only of his work on the drive in.

But this morning he was breaking all his rules: he had cut himself with his razor; he had left the house five minutes late, owing to a series of little domestic scenes of which his head was still full. And how he hated scenes outside his books! He treated the psychological moments in his own life as lightly, indeed, as in his novels, but the former worried him. This morning he had kissed Mrs. Mason with all the exuberance of a young man, and on coming downstairs, and finding Ida waiting for him with his tall hat and overcoat nicely brushed, and his gloves warmed on both sides, he had kissed her too, and so fondly as to bring out the same film on her sweet eyes as he had produced a few minutes before in those of her mother.

To begin the day by making people cry was peculiarly odious to the kind-hearted gentleman who held it the whole duty of a novelist to make people laugh; and those two pairs of dear eyes, so like each other in every look, duly accompanied him to the orderly, tobacco-scented room, where he edited Mayfair and wrote his own books. The clock on the chimney-piece stood at ten minutes to ten. He was five minutes late at this end also.

On a little table under the window lay the long envelopes and the cylinders of manuscript which had arrived since the day before. Wolff Mason lit a cigarette, and examined the packets without opening them. Thus he invariably began his official day, tossing aside the less interesting-looking missives for his weekly "clean sweep," and leaving on the little table work enough for the afternoon, mostly the work of previously accepted contributors, whose handwriting was familiar to the editor. These were the people who gave the trouble, the people who had sent in a good thing once. Not all of them did it twice.

The editor recognised this morning on one of the long envelopes the superscription of a most promising contributor who had done it thrice, but who had lately failed as many times in succession. Wolff Mason had never known a valued contributor go to the bad at such a pace; but this one had done such merry work in the beginning that there was hope for him still. At all events he could write, and must therefore be read carefully. The editor would have read him there and then, in the hope of a laugh, which he felt he needed, had he not been five minutes late as it was. At three minutes to ten he loaded four brier-wood pipes out of a stone tobacco-jar, set three of them in a row on his desk, and lit the fourth. When the hour struck the ink stood thick on certain symbols at the top of a clean sheet of unlined foolscap, and Wolff Mason was glancing over his previous morning's work.

The clock on the chimney-piece had a quiet, inoffensive tick, but this, and an occasional squeal from the novelist's pipe, which was exceedingly foul, were the only sounds within the editorial sanctum between ten and half-past that morning. The ink had dried upon the pen of as ready a writer as ever told agreeable stories in good English; at the half-hour all that had been written was the heading of the new chapter, and the number of the page (with a ring round it) in the right-hand top corner. Some ten minutes later Wolff Mason took up his second pipe, lit it, and began to write. He wrote for an hour, more rapidly and less gracefully than was his wont. Then he flung down his pen, lit the third pipe, and blew clouds of smoke against the square of blue framed by the upper sashes of the double window on his right. The novelist was in trouble. The best character in his book, the old general, was failing him sadly in the hour of need. It was necessary to the plot that this hearty, weather-beaten warrior should make a complete brute of himself in the boat-house on discovering his only daughter in the embrace of the young poet who inhabited cheap chambers in Mitre Court when he was at home. But the general had treated the poet as his own son hitherto, had taken his daughter to tea at the Mitre Court chambers, had himself invited their interesting tenant down to his country house for change of air; and he refused to be so inconsistent. It was a case of inventing something disreputable (afterwards to be disproved) against the poet; the general must only now have heard of it to justify his ordering his guest off the premises as the plot demanded. It was necessary and easy, but undeniably conventional, and it distressed the novelist, because he had not foreseen this contingency in the garden before breakfast. Moreover, for some reason or other, he felt his inventive faculty to be at its lowest vitality to-day. He did not ask himself what the reason was. He had at least got back to the world of fiction, and whatever their effects, the domestic scenes of the early morning were entirely forgotten.

He was aware, however, that this morning he was breaking all his rules. He was about to invent in the room where it was his practice only to write down what he had invented elsewhere. He got up and paced the room in order to do so, and this was another rule broken, for he very seldom stirred from his chair between ten o'clock and one. And now, as he walked, Wolff Mason's eye was caught by the packet from that promising contributor who could write so amusingly when he liked; the creative portion of his brain gave sudden way to the editorial; and the editor informed himself, with a characteristic chuckle of self-depreciation, that the new man's story would in any case amuse him more than his own was doing at the moment. At all events he would try it. He had broken so many rules already that he caught up the interesting envelope with a certain recklessness, and having lighted his fourth pipe, sat down to read manuscript as calmly as though it were three o'clock in the afternoon instead of the middle of his sacred working morning.

The story, which was quite short, was accompanied by the unpresuming business-like note which this contributor always forwarded with his literary offerings. It was called "A Good Father," which was not a very good title, but the editor prepared to give it his "careful consideration," in accordance with the pledge embodied in his printed notice to contributors. He pushed his spectacles on to his forehead and began to read with the manuscript held close to his nose. Over the third leaf his fine, thoughtful forehead became scored with furrows; on the fifth he exclaimed "Ha!" Half way through the story he muttered "Upon my word!" and a little later, "A most remarkable coincidence." Then his face lost its interested look under the gathering clouds of disappointment, and he finished reading with a brow awry.

"Not free from merit—anything but free—yet it won't do! This is a young man with a naturally sweet sense of humour, but something has embittered him since he first began to send me his stories. I wish I knew what! He is the most disappointing person I have had to deal with for many a day; a writer after my own heart, which he is half breaking with his accursed childish cynicism!"

The genuine character of the editor's regrets was obvious (to himself) from the fact that all his observations were made aloud. He very seldom caught himself in the act of soliloquy; it was yet another of the several irregularities which were destined to stamp this day in the memory of one who notoriously lived and worked by routine. The matter of the unacceptable story, however, suggested an entry in the commonplace book in which he was accustomed to accumulate raw material for future use. He felt happier when he had jotted down a note or two anent the cynicism of the modern young author and his lamentable liking for unhappy endings. The story he had just read ended shockingly, and all owing to the unnatural obduracy of an impossible parent, the "Good Father" of the cynical title. Otherwise it was a very good story indeed. The coincidence, however, was quite remarkable. Paternal opposition was the rock on which Wolff Mason's own pen had split that morning. But his old general was not going to run him into an unhappy ending—not he! He turned to that irate personage with positive relief, and saw his way more clearly after the ten minutes he had spent in the company of a much more terrible specimen of the same class. What he did not see was the full force of the coincidence which had caused him to exclaim aloud. It was a double one; but the man of letters lived a double life, and in the atmosphere of fiction had forgotten those unpleasant facts which had compelled his attention earlier in the day.

Another matter worried the writer when the clock struck one, and he found himself mechanically wiping the pen that had inscribed some twelve hundred and fifty words only instead of the regulation fifteen hundred. He felt humbled by a sense of failure most mortifying at his age, and though he put away his papers and went off to the club as usual, he was not in his customary spirits, and the younger novelists who listened for his good things, in order to repeat them to their friends, heard nothing worth taking home with them that day. One of the latter, indeed, broached very deftly the subject of Wolff Mason's books; but the veteran treated the subject with unnatural seriousness, was aware of the unnaturalness himself, and left the club before his time in an evil humour. And evil humours were the greatest rarity of all with the editor of the Mayfair, whom common consent credited with the most charming personality in literary London.

By two-thirty he was back in the editorial chair; the first of a newly-loaded set of pipes was in full blast under his nose, and the remaining contents of the little table under the window were being dealt with carefully and in turn. Not one of them proved to be of any use at all. In each case this kind-hearted man felt it his duty to pen a considerate little letter explaining the reason of rejection in the present instance, and encouraging the unsuccessful contributor to further effort. It is amazing, indeed, and little known, what a talent Wolff Mason had for the composition of kindly little notes of this nature; he made even the rejected love him, for his heartening words, and for the sympathy and humour with which he tempered disappointment to his tender young contributors.

Last of all this afternoon he returned to "A Good Father," and glanced over it again with a sigh. Then he took a sheet of Mayfair Magazine note-paper, and scrawled the date and "Dear Sir." There he stopped. After a few moments' hesitation, the spoilt sheet was dropped into the waste-paper basket, and a new note begun with "My" thrown in before the "Dear Sir." But the editor paused again.

"Confound the fellow," he cried at last, "I'll treat him as a friend! The chances are he'll turn and rend me; but here goes."

The note that was eventually written and posted ran as follows:—

"Dear Mr. Evan Evans,—I think that 'A Good Father' is excellent, but on the whole it does not strike me as being in your best style—which is capital. If I may be permitted to make an unofficial observation, you will, I think, pardon the expression of an old man's regret that a writer with a real sense of humour, like yourself, should subordinate it to what strikes one as an alien melancholy. If you would only write as cheerfully as you did some time back, I should be spared the disappointment of returning your MS., which I shall never do without peculiar and personal regrets.

"Yours very truly,

"Wolff Mason."

The good editor breathed more freely when he had got this letter off his mind, and had addressed it to Evan Evans, Esq., 17, Cardigan Mansions, Kensington, W., and closed the envelope with his own hand and tongue. It was his last act at the office that day. As he tossed the letter into one basket, and the rejected manuscript into another, the clock on the chimney-piece struck the half-hour after four. And at half-past four in the afternoon, summer and winter, seed-time and harvest, with the annual exception of a hateful holiday at some such place as Saltburn, the editor of the Mayfair Magazine returned to his club to play whist for an hour and a half precisely, with three kindred spirits as methodical and as enthusiastic as himself.

But this was the exceptional day which proved every rule of Wolff Mason's most ruly life by causing him to break each of them in turn. He played his cards towards evening as amateurishly as he had chosen his phrases in the forenoon. Now what is about to be written down may never be believed. But at five-thirty-three, by the card-room clock, Wolff Mason, who was more eminent among the few as a whist-player than as a writer of novels, put the last trump on his partner's thirteenth card. One has it on unimpeachable authority. A few minutes later the rubber came to an end, and, instead of playing out time, as the custom was with this sporting quartette, the novelist complained of a slight faintness (which explained everything) and left the club twenty minutes before six for the first time for many years.

One of the other three saw him into his hansom. He said that the air entirely revived him. It might have done so, if there had ever been anything the matter with him. He ailed nothing, however, beyond extreme and cumulative mortification; and the four winds of heaven, chasing each other round his temples as he drove westward, could not have blown that cobweb out of his respected head.

He could no longer feel surprised at anything that he might do, or say, or think. Somewhere in the neighbourhood of the park he managed to think upon Evan Evans's latest story, now on its way back to that uneven contributor, and it seemed only natural that the shrewdest, most experienced magazine-editor in London should question the wisdom of his late decision in a way that would have made him laugh on any other occasion. He did not laugh now. The optimist of letters was in an incredibly pessimistic mood, in which the story he had refused seemed to him an ideal one for the magazine. He thought of his valued and most promising contributor, Evan Evans, of the manuscript now on its way back to him, of the possible effect of the rejection of so good a story upon a sensitive young man with a knowledge of other markets. Then he thought of this contributor's address, which was quite close to his own, and of the twenty minutes which he had in hand owing to his premature departure from the club. A word on the spur to the cab-man, a sharp turn to the left, some easy driving along a quiet street, and the hansom pulled up before the respectable portals of Cardigan Mansions, Nos. 11-22, whereof the stout attendant in uniform came forward and threw back the panels.

In another minute Wolff Mason was pressing the electric bell outside No. 17 on the second floor, and reflecting, with a qualm, that he was about to intrude upon a rejected contributor whom he had never seen—a truly startling reversal of a far too common editorial experience of his own. An elderly servant opened the door.

"Is Mr. Evans at home?"

"Mr. Hevans, sir?"

The servant looked as vacant as a woman need.

"Mr. Evan Evans," said the editor, distinctly, and with a smile as it struck him that there was no occasion in the world for him to leave his name. But a light had broken over the crass face of the elderly door-opener.

"Oh, I know, sir! He is in. Will you step this way?"

There was no drawing back now. Mr. Mason stepped boldly across the threshold, and the door closed behind him. In the very narrow passage the servant squeezed by him, and paused with her fingers on the handle of a door upon the right-hand side.

"What name shall I say, sir?"

"Mr. Wolff Mason."

A moment later the novelist-editor found himself standing in a more charming study than he himself owned to that day. It was all books and pictures, and weapons and pretty curtains, and comfortable chairs and handy tables. A good fire was burning, and on the right of it was a desk so placed that the writer looked out into the room as he sat at his work. The writer was sitting there now. He was a very young man, with a pipe in his mouth and a pen in his hand, and as he leant forward with the utmost eagerness, and the light of his writing-lamp fell full upon his youthful face, Wolff Mason had not the slightest difficulty in recognising Ida's presumptuous suitor of Saltburn-by-the-Sea.

"How do you do, Mr. Mason?" the young fellow said, coming forward with his hand frankly outstretched; but the other hesitated before taking it in his.

"Am I speaking to Mr. Evan Evans?"

"That is the name I—write stories under."

"Exactly. Your other name is not my concern. I don't seek to know it, Mr. Evans."

The editor was smiling grimly, but his gloved hand was now extended. Now, however, that of the young man went coolly into his trousers' pocket as he looked his visitor steadily in the face. They were grey flannel trousers, with yellow slippers at one end of them and a Norfolk jacket at the other. The editor's smile had turned to a look of interest.

"I called to see you about a little story, Mr. Evans."

"You have done me a very great honour, sir. Won't you sit down? Do you find it warm? Shall I open the window?"

"Not at all, not at all. I won't detain you a moment, and I won't sit down in one of your chairs, because they look comfortable, and I am stiff—though you wouldn't think it from my breaking in upon you like this, would you?"

Having shown very plainly that it was not his intention to recognise any former acquaintance, and seeing his young host take the cue from him in a way that struck him as at once manly and gentlemanly, Mr. Wolff Mason was now behaving in his own most charming fashion, which was very charming indeed to a young unknown beginner from a favourite old author whose name had been a household word for a quarter of a century at least. The beginner felt that if he had gauged the character of Wolff Mason correctly, when they first met at the sea-side, he would never have concealed the identity of Jack Overman with Evan Evans. But all thought of the old man's hardness upon a young one perished in an overwhelming sense of the great editor's kindness towards his utterly unknown contributor.

"I'll stand here, if I may, with my back to your fire. I looked in about the very clever little story you sent me yesterday."

The young author's face brightened till it quivered, but his words were all unworthy.

"How awfully kind of you!"

"Not at all, my dear sir. I was passing close to you, on my way home, and I was bothering about your story. I admire your work, but I don't altogether admire this story. My dear fellow, it ends too sadly altogether!"

"No other ending was possible," the young man declared. "So I felt, and one must write as one feels."

"Must one?" said the veteran, smiling blandly into the boyish earnest face. "Surely all things are possible to him who writes—unless, to be sure, he takes himself seriously!"

This, however, was not very seriously said, for Wolff Mason had turned round and was peering at the photographs on and over the mantel-piece. Suddenly he pushed up his spectacles and thrust his head close to a framed portrait, with a piece of stamp-paper stuck upon the glass to hide the face, but with the name in print underneath upon the mount.

"May I ask, young man," inquired Mr. Mason, as he favoured his contributor with a very comical stare, "why you have my photograph on the wall, in the first place; and, in the second, why the deuce you cover up my face?"

"You must ask the man who lives with me. He may come in any moment now."

"Did he do it?"

"I'm ashamed to say he did."

"Upon my word I should like to know why!"

"Well, sir, he bought me your photograph when you were accepting my stories; and he hid your face because he said——"

"Well, what did he say?"

"He talked such rot, sir!"

"I have no doubt."

"He was ass enough to say you'd certainly live to hide it yourself on my account! I'm afraid that he unduly admires my stuff. He's a fellow who is full of sympathy——"

"And not free from humour—by no means free!" cried Mr. Mason, laughing at the top of his voice (as he had never, never laughed at Saltburn-by-the-Sea). "But seriously, you are ending your later stories far too sadly. To come back to your last one—though I'm afraid it's coming back to you! I rejected it, and then, as I was driving home, I thought you would perhaps alter it, if I called and asked you before you sent it elsewhere. Don't you think you could soften your good father—just at the end?"

"I couldn't," said the young fellow, with a candid stare; but his eyes fell under the cool, kindly scrutiny of the elderly man, who continued gazing at the well-shaped head, on which the hair was perhaps a trifle long and untidy. For once that day Wolff Mason was the equal of the occasion, and he knew it to his consolation. The occasion, moreover, was the very one to which he would have desired to rise.

"Why couldn't you, my dear fellow?"

"Because it isn't life."

"Are you so sure that you know life?"

"I know it as I find it," said the young fellow bitterly; and there was a pause.

"Well, at any rate, you know that I like your stories."

"I am thankful to hear it."

"I want to accept them——"

"You are very kind."

"As many of them as ever you can write, and some day a long novel. I believe in you, Overton."

"Oh, sir, you are more than kind—to a raw recruit—on the ladder which you yourself——"

"My good Overton, why on earth didn't you mix those metaphors three months ago? Not that you're raw at all—unless it's with me!"

Two frail hands were laid on the young man's shoulders. He answered dryly:

"My other name isn't Overton. It's Overman. But I forgot, you said it wasn't your concern!"

"Ah, well, but the man who is to make the name famous is becoming my very grave concern. You should have let me know that you were in our swim, my boy."

"Before I was sure of keeping myself afloat? I thought I had a better chance as a—bad whist-player!"

"Confound the boy!" cried Wolff Mason, "but you were perfectly right, though your work is better than your whist."

"Then it was your magazine that I was writing for—you were the one man in England who could help me on—the whole situation was so liable to misconstruction!"

"It was—it was. And, now I think of it, you never brought me an introduction nor asked for an interview, nor wrote me a single superfluous line!"

"I wanted you to accept my stuff," said the young fellow, smiling.

But behind his spectacles the editor's eyes sparkled for an instant with something more than human kindness. He had made the grand discovery of his editorial life. He had discovered the ideal contributor, and for the moment he could only think of him as a young man of letters. Now, however, his right hand had found its way into that of young Overman, as he said with a comic solemnity:

"Look here, Overton, I was five minutes late in leaving the house this morning; for once in a way I don't mind if I'm five minutes late in getting back. I think that all you need do is to shave, though Ida might prefer you in another pair of bags and slippers. You can't improve upon that Norfolk jacket—but—but you and I must have another talk about the end of your story."

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["AUTHOR! AUTHOR!"]

This story has to do with two men and a play, instead of a woman, and it is none of mine. I had it from an old gentleman I love: only he ought to have written it himself. This, however, he will never do, having known intimately in his young days one of the two men concerned. But I have his leave to repeat the story more or less as he told it—if I can. And I am going to him for my rebuke—when I dare.

"You want to hear the story of poor old Pharazyn and his play? I'm not going to tell it you....

"Ah, well! My recollection of the matter dates from one summer's night at my old rooms in the Adelphi, when he spoilt my night's work by coming in flushed with an idea of his own. I remember banging the drawer into which I threw my papers to lock them away for the night; but in a few minutes I had forgotten my unfinished article, and was glad that Pharazyn had come. We were young writers, both of us; and, let me tell you, my good fellow, young writing wasn't in those days what it is now. I am thinking less of merit than of high prices, and less of high prices than of cheap notoriety. Neither of us had ever had our names before the public—not even in the bill of an unread and unreadable magazine. No one cared about names in my day, save for the half-dozen great ones that were then among us; so Pharazyn's and mine never got into the newspapers, though some of them used our stuff.

"In a manner we were rivals, for we were writing the same sort of thing for the same sort of publications, and that was how we had come together; but never was rivalry friendlier, or mutually more helpful. Our parts were strangely complementary: if I could understand for the life of me the secret of collaboration, I should say that I might have collaborated with Pharazyn almost ideally. I had the better of him in point of education, and would have turned single sentences against him for all he was worth; and I don't mind saying so, for there my superiority ended. When he had a story to tell he told it with a swing and impetus which I coveted him, as well I might to this day; and if he was oftener without anything to write about, his ideas would pay twenty shillings in the pound, in strength and originality, where mine made some contemptible composition in pence. That is why I have been a failure at fiction—oh, yes, I have! That is why Pharazyn would have succeeded, if only he had stuck to plain ordinary narrative prose.

"The idea he was unable to keep within his own breast, on the evening of which I am telling you, was as new, and simple, and dramatic as any that ever intoxicated the soul of story-teller or made a brother author green with envy. I can see him now, as I watched him that night, flinging to and fro with his quick, nervous stride, while he sketched the new story—bit by bit, and often the wrong bit foremost; but all with his own flashing vividness, which makes me so sorry—so sorry whenever I think of it. At moments he would stand still before the chair on which I sat intent, and beat one hand upon the other, and look down at me with a grand, wondering smile, as though he himself could hardly believe what the gods had put into his head, or that the gift was real gold, it glittered so at first sight. On that point I could reassure him. My open jealousy made me admire soberly. But when he told me, quite suddenly, as though on an afterthought, that he meant to make a play of it and not a story, I had the solid satisfaction at that moment of calling him a fool.

"The ordinary author of my day, you see, had a certain timorous respect for the technique of the stage. It never occurred to us to make light of those literary conventions which it was not our business to understand. We were behind you fellows in every way. But Pharazyn was a sort of forerunner: he said that any intelligent person could write a play, if he wanted to, and provided he could write at all. He said his story was a born play; and it was, in a way; but I told him I doubted whether he could train it up with his own hand into a good acting one. I knew I was right. He had neither the experience nor the innate constructive faculty, one or other of which is absolutely necessary for the writing of possible plays. I implored him to turn the thing into a good dramatic novel, and so make his mark at one blow. But no; the wilful fit was on him, and one had to let it run its course. Already he could see and hear his audience laughing and crying, so he said, and no doubt he had further visions of his weekly cheque. Anyhow, we sat up all night over it, arguing, smoking, and drinking whisky until my windows overlooking the river caught the rising sun at an angle. Then I gave in, for poor old Pharazyn was more obstinate than ever, though he thanked me with the greatest good temper for my well-meant advice.

"'And look here, my boy,' says he, as he puts on his hat, 'you shan't hear another word about this till the play's written; and you are to ask no questions. Is that a bargain? Very well, then. When I've finished it—down to the very last touches—you shall come and sit up all night with me, and I'll read you every word. And by George, old chap, if they give me a call the first night, and want a speech—and I see you sitting in your stall, like a blessed old fool as you are—by George, sir, I'll hold up you and your judgment to the ridicule of the house, so help me Himmel!'

"Well, I am coming to that first night presently. Meanwhile, for the next six months I saw very little of Pharazyn, and less still in the new year. He seldom came to my rooms now; when he did I could never get him to stay and sit up with me; and once when I climbed up to his garret (it was literally that) he would not answer me, though I could smell his pipe through the key-hole in which he'd turned the key. Yet he was perfectly friendly whenever we did meet. He said he was working very hard, and indeed I could imagine it; his personal appearance, never his strong point, being even untidier, not to say seedier, than of old. He continued to send me odd magazines in which his stuff happened to appear, or, occasionally a proof for one's opinion and suggestions; we had done this to each other all along; but either I did not think about it, or somehow he led me to suppose that his things were more or less hot from the pen, whereas many of mine had been written a twelve-month before one saw them in type. One way or another I gathered that he was at work in our common groove, and had shelved, for the present at all events, his proposed play, about which you will remember I had undertaken to ask no questions.

"I was quite mistaken. One night in the following March he came to me with a haggard face, a beaming eye, and a stout, clean manuscript, which he brought down with a thud on my desk. It was the play he had sketched out to me eight or nine months before. I was horrified to hear he had been at work upon it alone from that night to this. He actually boasted that he hadn't written another line in all that time, only each line of his play some ten times over.

"I recollect looking curiously at his shabby clothes, and then reminding him that it was at his place, not mine, I was to have heard him read the play: and how he confessed that he had no chair for me there—that his room was practically dismantled—that he had sacrificed everything to the play and would do so again. I was extremely angry. I could have helped him so easily, independent as I was of the calling I loved to follow. But there was about him always an accursed unnecessary independence, which has since struck me—and I think I may say so after all these years—as the mark of a rather humble, deadly honest origin.

"He read me the play, and I cried over the third act, and so did he. I thought then, and still think, that there was genius in that third act—it took you off your feet. And to me, certainly, it seemed as if the piece must act as well as it read, though indeed, as I took care to say and to repeat, my opinion was well-nigh valueless on that point. I only knew that I could see the thing playing itself, as I walked about the room (for this time I was the person who was too excited to sit still), and that was enough to make one sanguine. I became as enthusiastic about it as though the work were mine (which it never, never would or could have been), yet I was unable to suggest a single improvement, or to have so much as a finger-tip in the pie. Nor could I afterwards account for its invariable reception at the hands of managers, whose ways were then unknown to me. That night we talked only of one kind of reception. We were still talking when once more the sun came slanting up the river to my windows; you could hardly see them for tobacco-smoke, and this time we had emptied a bottle to the success of Pharazyn's piece.

"Oh, those nights—those nights once in a way! God forgive me, but I'd sacrifice many things to be young again and feel clever, and to know the man who would sit up all night with me to rule the world over a bottle of honest grog. In the light of after events I ought perhaps to be ashamed to recall such a night with that particular companion. But it is ridiculous, in my opinion, to fit some sort of consequence to every little solitary act; and I shall never admit that poor Pharazyn's ultimate failing was in any appreciable degree founded or promoted by those our youthful full-souled orgies. I know very well that afterwards, when his life was spent in waylaying those aforesaid managers, in cold passages, on stage doorsteps, or in desperation under the public portico on the street; and when a hundred snubs and subterfuges would culminate in the return of his manuscript, ragged but unread; I know, and I knew then, that the wreck who would dodge me in Fleet Street, or cut me in the Strand, had taken to his glass more seriously and more steadily than a man should. But I am not sure that it matters much—much, you understand me—when that man's heart is broken.

"The last words I was ever to exchange with my poor old friend ring in my head to this day, whenever I think of him; and I can repeat them every one. It was years after our intimacy had ceased, and when I only knew that he had degenerated into a Fleet Street loafer of the most dilapidated type, that I caught sight of him one day outside a theatre. It was the theatre which was for some years a gold-mine to one Morton Morrison, of whom you may never have heard; but he was a public pet in his day, and his day was just then at its high noon. Well, there stood Pharazyn, with his hands in his pockets and a cutty-pipe sticking out between his ragged beard and moustache, and his shoulders against the pit door, so that for once he could not escape me. But he wouldn't take a hand out of his pocket to shake mine; and when I asked him how he was, without thinking, he laughed in my face, and it made me feel cruel. He was dreadfully emaciated and almost in rags. And as I wondered what I ought to do, and what to say next, he gave a cough, and spat upon the pavement, and I could see the blood.

"I don't know what you would have done for him, but for all I knew what had brought him to this, I could think of nothing but a drink. It was mid-winter, and I tell you the man was in rags. I felt that if I could get him to a bar he might eat something, too, and that I should lay such a hold of him this time as I need never again let go. Judge of my surprise when he flatly refused to come with me even for a drink.

"'Can't you see?' he said in his hollow voice. 'There'll be a crowd here directly, and I want the best seat in the pit—the best in the house. I've been going dry for it these two days, and I'm going dry till I've seen the piece. No, I've been here an hour already, and I'm still the first; but I mightn't be when I came back, and I'm not going to risk it, thanks all the same.'

"By this I had remembered that Morton Morrison was to re-open that night with a new piece. Indeed, I ought not to have forgotten that, seeing that I had my order about me somewhere, and it meant a column from my pen between twelve and one in the morning. But this sudden sorry meeting had put all other thoughts out of my head.

"'My dear fellow,' I said, with a sort of laugh, 'are you a first-nighter, too?'

"'Only at this theatre.'

"He looked me queerly in the face.

"'You admire Morrison as much as all that?'

"'I love him!'

"I suppose my eyes thawed him, though God knows how hard I was trying not to hurt him with pitying looks. At all events he began to explain himself of his own accord, in one bitter, swift, impetuous outburst.

"'Look here,' he said, with his hoarse voice lowered: 'I hoped never to see your face again. I hoped you'd never see mine. But now you are here, don't go this minute, and I'll tell you why I think so much of Morton Morrison. I don't know him, mind you—he doesn't know me from Adam—but once long ago I had something to do with him. And God bless him, but damn every other manager in London, for he was the only one of the lot to give me a civil hearing and a kind word!'

"I knew what he was talking about, and he knew that I knew, for we had understood one another in the old days.

"'I took it to him last of all,' he went on, wiping his damp lips with his hand. 'When I began hawking it about he was an unknown man; when his turn came he was here. He let me read it to him. Then he asked me to leave it with him for a week; and when I went back to him, he said what they'd all said—that it would never act. But Morton Morrison said it nicely. And when he saw how it cut me up into little bits, he got me to tell him all about everything; and then he persuaded me to burn the play, instead of ruining my life for it; and I burnt it in his dressing-room fire, but the ruin was too far gone to mend. I wrote that thing with my heart's blood—old man, you know I did! And none of them would think of it—my God! But Morrison was good about it—he's a good soul—and that's why you'll see me at every first night of his until the drink does me.'

"I had not followed him quite to the end. One thing had amazed me too much.

"'You burnt your play,' I could only murmur, 'when it would have turned into such a novel! Surely you have some draft of it still?'

"'I burnt the lot when I got home,' says Pharazyn, 'and before long I shall join 'em and burn too.'

"I had nothing to answer to that, and was, besides, tenacious of my point. 'I don't think much of the kindness that makes one man persuade another to burn his work and throw up the sponge,' I said, with a good deal of indignation, for I did feel wroth with that fellow Morrison—a bread-and-butter drawing-room actor whose very vogue used to irritate me.

"'Then what do you think of this?' asked Pharazyn, as he dipped a hand within his shabby coat, and cautiously unclenched it under my nose.

"'It's a five-pound note.'

"'I know; but wasn't that kind, then?'

"'So Morrison gave you this!' I said.

"Two or three persons had stopped to join us at the pit door, and Pharazyn hastily put the note back in his pocket. As he did so, his dreadfully shabby condition gave my heart a fresh cut.

"'Are you never going to spend that?' I asked in a whisper; and in a whisper he answered, 'Never. It's all my play has brought me—all. It was given me as a charity, but I took it as my earnings—my earnings for all the work and waiting, and flesh and blood and self-respect, that one thing cost me. Spend it? Not I. It will bury me as decently as I deserve.'

"We could converse no more. And the presence of other people prevented me from giving him my overcoat, though I spoke of it into his ear, begging and imploring him to come away and take it while there was still time for him to slip back and get a seat in the front row. But he would not hear of it, and the way he refused reminded me of his old stubborn independence; all I got was a promise that he would have a bite with me after the performance. And so I left him in the frosty dusk, ill-clad and unkempt, with the new-lit lamp over the pit door shining down upon the haggard mask that had once been the eager, memorable face of my cleverest friend.

"I saw him next the moment I entered the theatre that evening, and I nodded my head to him, which he rebuked with the slightest shake of his own. So I looked no more at him before the play began, comprehending that he desired me not to do so. The temptation, however, was too strong to go on resisting, for while Pharazyn was in the very centre of the front row in the pit, I was at one end of the last row of the stalls; and I was very anxious about him, wanting to make sure that he was there and not going to escape me again, and nervous at having him out of my sight for five minutes together.

"Thus I know more about the gradual change which came over Pharazyn's poor face, as scene followed scene, than of the developments and merits of those scenes themselves. My mind was in any case running more on my lost friend than on the piece; but it was not till near the end of the first act that the growing oddity of his look first struck me.

"His eyebrows were raised; it was a look of incredulity chiefly; yet I could see nothing improbable in the play as far as it had gone. I was but lightly attending, for my own purposes, as you youngsters skim your betters for review; but thus far the situation struck me as at once feasible and promising. Also it all seemed somehow familiar to me; I could not say just where or why, for watching Pharazyn's face. And it was his face that told me at last, in the second act. By God, it was his own play!

"It was Pharazyn's play, superficially altered all through, nowhere substantially; but the only play for me, when I knew that, was being acted in the front row of the pit, and not on the stage, to which I had turned the side of my head. I watched my old friend's face writhe and work until it stiffened in a savage calm; and watching, I thought of the 'first night' he had pictured jovially in the old days, when the bare idea of the piece was bursting his soul; and thinking, I wondered whether it could add a drop to his bitterness to remember that too.

"Yet, through all my thoughts, I was listening, intently enough now. And in the third act I heard the very words my friend had written: they had not meddled with his lines in the great scene which had moved us both to tears long ago in my rooms. And this I swear to, whether you believe it or no—that at the crisis of that scene, which was just as Pharazyn made it, the quiet ferocity transfiguring his face died suddenly away, and I saw it shining as once before with the sweetest tears our eyes can shed—the tears of an artist over his own work.

"And when the act was over he sat with his head on his hand for some minutes, drinking in the applause, as I well knew; then he left his seat and squeezed out on my side of the house, and I made sure he was coming to speak to me over the barrier, and got up to speak to him; but he would not see me, but stood against the barrier with a face as white and set as chiselled marble.

"What followed on the first fall of the curtain I can tell you as quickly as it happened. Louder call for an author I never heard, and I turned my eyes to the stage in my intense curiosity to see who would come forward; for the piece had been brought out anonymously; and I divined that Morrison himself was about to father it. And so he did: but as the lie passed his lips, and in the interval before the applause—the breathless interval between flash and peal—the lie was given him in a roar of fury from my left: there was a thud at my side, and Pharazyn was over the barrier and bolting down the gangway towards the stage. I think he was near making a leap for the footlights and confronting Morrison on his own boards; but the orchestra came between, and the fiddlers rose in their places. Then he turned wildly to us pressmen, and I will say he had our ear, if not that of the whole house besides, for the few words he was allowed to utter.

"'Gentlemen!' he cried at the top of his voice—'Gentlemen, I'm one of you! I'm a writing man like yourselves, and I wrote this play that you've seen. That man never wrote it at all—I wrote it myself! That man has only altered it. I read it to him two years ago—two years ago, gentlemen! He kept it for a week, and then got me to burn it as rubbish—when he had made a copy of it! And he gave me this, gentlemen—this—this—that I give him back!'

"It was a matter of only a few seconds, but not till my own last hour shall I forget Morrison's painted face on the stage, or that sweating white one beneath the boxes; or the fluttering from Pharazyn's poor fingers of the five-pound note he had treasured for two years; or the hush all over the house until the first hand was laid upon his dirty collar.

"'What!' he screamed, 'do none of you believe me? Will none of you stand by me—isn't there a man—not one man——'

"And they threw him out with my name on his lips. And I followed, and floored a brute who was handling him roughly. And nothing happened to me—because of what happened to Pharazyn."

The dear old boy sat silent, his grey head on his hand. Presently he went on, more to himself than to me: "What could I do? What proof had I? He had burnt them every one. And as long as the public would stand him, Morrison kept his good name at least. And that play was his great success!"

I ventured gently to inquire what had happened to Pharazyn.

"He died in my arms," my old friend cried, throwing up his head with an oath and a tear. "He died in a few minutes outside the theatre. I could hear them clapping after he was dead—clapping his piece."

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