XVIII. EULOGISETH ANDREW.
In speaking of Andrew I wish it to be very distinctly understood that there is only one Andrew; and he is "the" Andrew as pronouncedly and positively as "the" Mactavish or "the" Mackintosh. He is, to use the words of the old Scottish song, "Lang, Lang, Lang a'comin'," always "a'comin'" it in every English printed journal and newspaper under the sun. His finger is in every literary pie. His shrill piping utterance is even as the voice of Delphic oracles, pronouncing judgment on all men and all things. He is the Author's Own Patent Incubator. His artificial warmth hatches all sorts of small literary fledglings who might otherwise have perished in the shell; and out they come chirping, all fuss and feathers, with as much good stamina as though they had been nursed into being under the wings of that despised old hen, Art. Andrew is better than Art, because he is the imitation of Art, and he comes cheaper than the real article. The way in which the old hen hatches her chicks is slow and infinitely laborious; the Lang Patent Incubator does the work in half the time and ever so much less worry. If you can only manage to place a literary egg close enough to the Incubator for him to "take notice" as it were, why there you are; out comes a chuckling author immediately and begins to pick his food from the paragraph-men with quite an appetite. He is quite a curious and wonderful institution in literature, is my dear Andrew. The pensters have had all sorts of things "occur" to them in their profession, such as "booms," "blackmail," "puffs," "burkings," "cliques," "literary societies," and the like, but I believe it has been left to our time to produce a literary Incubator. Of course Art goes on hatching strange birds in her own tedious and trying way—birds that soar sky-high and refuse paragraph-crumbs—but then they are a special breed that would have died of suffocation in the Lang Incubator. And they are a troublesome sort of fowl at best; they will never fly where they are told, never sing when they are bidden, and are never to be found scratching up dust in the press-yard by any manner of means. Now the Incubator produces no wild brood of this kind. He hatches excellent tame chicks, who make the prettiest little clucking noise imaginable, and scratch among the press-dust with grateful and satisfied claws, the while they prune each other's feathers occasionally with the tenderest "Savile" solicitude. Even timid spinsters could take up such pretty poultry in their aprons without harm. There are no horrible, snapping, strong-winged eagles among them? Lord bless you, no! Andrew would never be bothered with an eagle. It might bite his nose off! Eagles—i.e., geniuses—are detestable creatures; you never know where to have them. And the Incubator must know where to have his chicks, else how could he look after them? Besides, geniuses always cause disaster and confusion in the press-yard—they find fault with the food there, and object to roost on the critically appointed perches. Fortunately, however, they are rare; and when Art does let loose such big troublesome chickabiddies the world generally lets them forage for themselves. Andrew certainly never troubles his head about them—indeed, he does his best to forget the unpleasant fact that they are flying about and might at any moment pounce on his "yairdie" and make havoc of his own carefully-incubated little literary brood.
Needless to say I am devoted to Andrew. He has done me the greatest kindness in the world. He does not know how kind he has been; in fact, he has such an open, guileless disposition that I believe he is quite unconscious of the heavy debt of gratitude I owe him. I have often thought I would try to express my sentiments towards him in some way, but my emotions have choked me, and I have refrained. Besides, great souls do not require to be thanked, and Andrew has a great soul. A great soul and "brindled hair." These qualities make him what he is, worthy of the admiration of all true Scots and inferior men. And of the "inferior" I will stand second to none in Lang-worship. Have I not followed him at a respectful distance when he has started off to rummage old bookstalls in search of literary provender? And have I not always admired the "pawkie" manner in which he has fathomed the childlike ignorance of the British public? For are not the contents of the books he picks up secondhand, forgotten, or unknown by the British public? and is it not well and seemly that he, Andrew, should revive them once more as specimens of pure Lang wit and wisdom? Certainly. No one would do the Incubator the hideous injustice of imagining him to be capable of any new ideas. New ideas have from time immemorial been an affront and an offence to the reviewer, and Andrew is not only a reviewer himself but the friend of reviewers. New ideas are therefore very properly tabooed from his list. But for old ideas, carefully selected and re-worded, no one can beat Andrew. He is a wandering "complete edition" of ideas taken from "dead" as well as living authors. As for poetry, I don't suppose any one will dispute the right he has to the Laureateship. The stamp of immortality rests on "Ballads in Blue China"—that same immortality which attends Kipling's "Barrack-Room" marvels. These things will be read what time future generations ask vaguely, "Who was Tennyson?"
Yes, Andrew, it is even so. You are a great creature, and a useful creature too, because you can turn your hand to anything. You are not dominated by any cerebral monomania. You are a Press jack-of-all-trades, and, like G. A. S., could write as smartly about a pin as about a creed. It is very clever of you, and I appreciate your cleverness thoroughly. I have had the patience to listen to some lectures of yours, sitting at your feet as at the feet of another Gamaliel, drinking in the wisdom of the secondhand bookstalls without a murmur. Only the most intense admiration of your qualities could have made me do that. I have even managed to spell out some of your calligraphy, which resembles nothing so much as the casual pattern which might be made by a spider crawling on the paper after having previously fallen into the ink. That was a feat performed in your honour—a feat of which I am justly proud. Then again I shall always love you for your frankly-open detestation of literary females. Females who presume to take up our writing weapons—and use them almost as well as we do ourselves—these are our pet aversion. We hate scribblers in petticoats, don't we, good Andrew? Yea, verily! We loathe their verses, we abominate their novels; we would kick them if we dared. We do kick them, metaphorically, whenever we can, in whatever journals we command; but that is not half as much as we would like to do. Almost we envy Hodge who can (and does) give an interfering woman a good dig in the ribs with his heavy hob-nailed boot whenever she provokes him; and in the close competition for literary honours we would fain be Hodges too, every man-jack of us. It is an absurdity that should not be tolerated in any civilised nation, this admission of women into the literary profession. What has she done there? What will she ever do? Ask Walter of the Times (he is a great authority) what he thinks of women who write. He will tell you that they are merely the weak imitators of men, and that they are absolutely incapable of humour or epigram. And I am convinced he is right. Mrs. Browning, Charlotte Bronté, Georges Sand, George Eliot, and others whose names assume to be "celebrated," are really nobodies after all. Walter of the Times could himself beat them out of the field—if he liked. But he is too mercifully disposed for this: he reserves his genius. Sparkling all over with witticism, he only permits occasional flashes of it to appear in the columns of his magnificent journal, lest the public should be too much dizzied and dazzled. No wonder the Times costs threepence; you could not expect to get even a glimpse of a man like Walter for less. We ought to be glad and grateful for his opinions at any price.
And these epithets "glad" and "grateful" occur to me as the only suitable terms to apply to you, most super-excellent Andrew; my good friend to whom I owe so much. I am glad and grateful to know that your "lang" personality is a familiar object at so many newspaper offices. I am delighted to feel that English literature would come to a dead halt without your pleasantly long finger to push it on. It rejoices my heart to realise what a power you are. I am lost in astonishment at the extraordinary collection of Lilliputian authors you have hatched by your incubating process. They are the prettiest little brood imaginable, and what is so charming about them is that they are all so tame and well-behaved that they will never fly. This is such a comfort. Just a little scurrying and flopping through the press-yard is all they are capable of, and quite enough too. Comfortable hencoop sanity in literature is the thing; we don't want any of Professor Lombroso's maniacs in the way of geniuses about. They are dangerous. They do strange things and break out in strange places, and often succeed in stopping all the world on its way to look at them. Nothing would alarm you so much, I assure you, my dear Andrew, as the involuntary hatching of a genius. In fact, I believe it would be all over with you. You could not survive.
But, thanks to a merciful Providence, you run no risk of this. The old hen Art is a savage bird and lays her eggs among wild thorns and bracken out in the open, where no man can find them to bring to you for the artificial bursting heat of a "boom." You only get the dwarf product of the domestic poultry of the press-yard. And these are easily incubated by your patent process—in fact, they almost hatch themselves, they are in such a hurry to chirp forth their claims to literary distinction. But being fragile of constitution they need constantly looking after, which I should imagine must be rather a bore. Relays of paragraph-men have to come and throw corn and savouries all the while lest your little chicks should die of inanition, they having no stamina in themselves. Some will die, some are dying, some are dead; yet weep not, gentle Incubator, for their fate. It better suits thy purpose that such should perish, so long as thou dost remain to hatch fresh fowl upon demand. The press-yard relies upon thee for its stock of guaranteed male birds—its gifted "virile" roosters, whose "cocksure" literary crowings may wake old Granny Journalism at stated hours from too-prolonged and loudly-snoring slumbers; but produce no hens, Andrew, for if thou dost, thou art a mistaken patent and workest by a wrong process! Continue in the path of wisdom, therefore, and faithfully incubate only masculine fledglings for the literary coops. More we do not expect of thee, save that thou continue to be the king of compilers and the enemy of blue stockings. For myself, personally speaking, admiring thee as I am fain to do, I naturally implore thee to go on in all the magazines and journals telling me the things I knew before—the old stories I read when I was a thoughtless child, the scraps of information familiar to me as copybook maxims, the ancient jokes at which my elders laughed, the snatches of French romance and fable I picked up casually at school. For being always a book-lover it is but natural I should have learned the things wherewith thou instructest the ignorant world; but thou shalt tell me of them again and yet again, good Andrew, and yet I will not murmur nor ask of thee one thought original. Aware of all thou canst say, I still entreat thee, say it! Say it (to quote the jovial old Saturday once more) in "little," that I may have it "lang."
And now, ever famous and beloved Andrew, I must for the moment take my leave of thee. The glory of thy reputation is as a band of light around the foggy isles of Britain, and that benighted Europe knows thee not at all is but a trifle to us, though a loss to Europe. When Hall Caine recently found out that he was not celebrated in Germany he wondered thereat and said the Germans had no taste for English literature. No—not though they are the finest Shakesperian scholars in the world and the most ardent lovers of Byron's poesy. "Benighted Fatherland!" inwardly moaned the writer of "Sagas"—"Benighted country that knoweth not my works! Benighted people that have never heard—ye gods, imagine it!—have never heard the name of Kipling!" Oh, dull, beer-drinking, Wagner-ridden disciples of Goethe, Schiller, and Heine! To be ignorant of Kipling! To be only capable of a bovine questioning stare at Caine! To be impervious to the electric name of Lang! To know nothing about the new "Thucydides," R. L. Stevenson! Heaven forgive them, for I cannot. I abjure the Rhineland till it has been to school with Lang's text-books under its arm. Drop Heine, ye besotted slaves of "lager-bier," and read Kipling. Try to read him, anyway. If you can't, my friend Andrew will show you how. Andrew will show you anything that can be shown in English journals and newspapers. But beyond these he cannot go. You must not expect him to expand farther. His incubating work belongs solely to the English Press Poultry-yard—his name, his power, his influence avail, alas! as Nothing, out in the wide, wide world!
XIX.
BYRON LOQUITUR.