A little later I saw the letter: it shows better than words of mine the tempers of the chief actors in this squalid story:
"As you return my letters unopened, I am obliged to write on a postcard. I write to inform you that I treat your absurd threats with absolute indifference. Ever since your exhibition at O. W.'s house, I have made a point of appearing with him at many public restaurants such as The Berkeley, Willis's Rooms, the Cafe Royal, etc., and I shall continue to go to any of these places whenever I choose and with whom I choose. I am of age and my own master. You have disowned me at least a dozen times, and have very meanly deprived me of money. You have therefore no right over me, either legal or moral. If O. W. was to prosecute you in the Central Criminal Court for libel, you would get seven years' penal servitude for your outrageous libels. Much as I detest you, I am anxious to avoid this for the sake of the family; but if you try to assault me, I shall defend myself with a loaded revolver, which I always carry; and if I shoot you or if he shoots you, we shall be completely justified, as we shall be acting in self-defence against a violent and dangerous rough, and I think if you were dead many people would not miss you.—A. D."
This letter of the son seemed to me appalling. My guess was right; it was he who was speaking through Oscar; the threat of shooting at sight came from him. I did not then understand all the circumstances; I had not met Lady Queensberry. I could not have imagined how she had suffered at the hands of her husband—a charming, cultivated woman, with exquisite taste in literature and art; a woman of the most delicate, aspen-like sensibilities and noble generosities, coupled with that violent, coarse animal with the hot eyes and combative nature. Her married life had been a martyrdom. Naturally the children had all taken her side in the quarrel, and Lord Alfred Douglas, her especial favourite, had practically identified himself with her, which explains to some extent, though nothing can justify, the unnatural animosity of his letter. The letter showed me that the quarrel was far deeper, far bitterer than I had imagined—one of those dreadful family quarrels, where the intimate knowledge each has of the other whips anger to madness. All I could do was to warn Oscar.
"It's the old, old story," I said. "You are putting your hand between the bark and the tree, and you will suffer for it." But he would not or could not see it.
"What is one to do with such a madman?" he asked pitiably.
"Avoid him," I replied, "as you would avoid a madman, who wanted to fight with you; or conciliate him; there is nothing else to do."
He would not be warned. A little later the matter came up again. At the first production of "The Importance of Being Earnest" Lord Queensberry appeared at the theatre carrying a large bouquet of turnips and carrots. What the meaning was of those vegetables only the man himself and his like could divine. I asked Oscar about the matter. He seemed annoyed but on the whole triumphant.
"Queensberry," he said, "had engaged a stall at the St. James's Theatre, no doubt to kick up a row; but as soon as I heard of it I got Alick (George Alexander) to send him back his money. On the night of the first performance Queensberry appeared carrying a large bundle of carrots. He was refused admittance at the box-office, and when he tried to enter the gallery the police would not let him in. He must be mad, Frank, don't you think? I am glad he was foiled."
"He is insanely violent," I said, "he will keep on attacking you."
"But what can I do, Frank?"