The second influence that, during these first weeks, developed her soul and body was, strangely enough, her aunt's elderly friend, Mr. Magnus. If Caroline introduced her to affairs of the world, Mr. Magnus introduced her to affairs of the brain and spirit.
She had never before known any one who might be called "clever." Her father was not, Uncle Mathew was not; no one in St. Dreots had been clever. Mr. Magnus, of course, was "clever" because he wrote books, two a year.
But to be an author, was not a claim to Maggie's admiration. As has been said before, she did not care for reading, and considered that the writing of books was a second-rate affair. The things that Mr. Magnus might have done with his life if he had not spent it in writing books! She regarded him with the kind indulgence of an elder who watches a child brick-building. He very quickly discovered her attitude and it amused him. They became the most excellent friends over it. She on her side very quickly discovered the true reason of his coming so often to their house; he loved Aunt Anne. At its first appearance this discovery was so strange and odd that Maggie refused to indulge it. Love seemed so far from Aunt Anne. She greeted Mr. Magnus from the chill distance whence she greeted the rest of the world—she gave him no more than she gave any one else—But Mr. Magnus did not seem to desire more. He waited patiently, a slightly ironical and self-contemptuous worshipper at a shrine that very seldom opened its doors, and never admitted him to its altar. It was this irony that Maggie liked in him; she regarded herself in the same way. Their friendship was founded on a mutual detachment. It prospered exceedingly.
Maggie soon discovered that Mr. Magnus was very happy to sit in their house even though Aunt Anne was not present. His attitude seemed to be that the atmosphere that she left behind her was enough for him and that he could not, in justice, expect any more. Before Maggie's arrival he had had but a slender excuse for his continual presence. He could not sit in the empty drawing-room surveying the large and ominous portrait of the Cardinal childhood, quite alone save for Thomas, without seeming a very considerable kind of fool. And to appear that in the eyes of Aunt Anne, who already regarded mankind in general with pity, would be a mistake.
Now that Maggie was here he might come so often as he pleased. Many was the dark afternoon through the long February and March months that they sat together in the dim drawing-room, Maggie straining her eyes over an attempted reform of some garment, Mr. Magnus talking in his mild ironical voice with his large moon-like spectacles fixed upon nothing in particular.
Mr. Magnus did all the talking. Maggie fancied that, all his life, he had persisted in the same gentle humorous fashion without any especial attention as to the wisdom, agreement or even existence of his audience. She fancied that all men who wrote books did that. They had to talk to "clear their ideas." She raised her eyes sometimes and looked at him as he sat there. His shabby, hapless appearance always appealed to her. She knew that he was, in reality, anything but hapless, but his clothes never fitted him, and it was impossible for him to escape from the Quixotic embarrassments of his thin hair, his high cheek-bones, his large spectacles. His smile, however, gave him his character; when he smiled—and he was always smiling—you saw a man independent, proud, wise and gentle. He was not a fool, Mr. Magnus, although he did love Aunt Anne.
To a great deal that he said Maggie paid but little attention; it was, she felt, not intended for her. She had, in all her relations with him, to struggle against the initial disadvantage that she regarded all men who wrote books with pity. She was not so stupid as not to realise that there were a great many fine books in the world and that one was the better for reading them, but, just because there were, already, so many fine ones, why write more that would almost certainly be not so fine? He tried to explain, to her that some men were compelled to write and could not help themselves.
"I wrote my first book when I was nineteen. One morning I just began to write, and then it was very easy. Then everything else was easy. The first publisher to whom I sent it accepted it. It was published and had quite a success. I thought I was made for life. Anything seemed possible to one. After all, so far as one's possibilities went one was on a level with any one—Shakespeare, Dante, any one you like. One might do anything... . I published a book a year, after that, for ten years—ten years ten books, and then awoke to the fact that I was nothing at all and would never be anything—that I would never write like Shakespeare, and, a matter of equal importance, would never sell like Mrs. Henry Wood. Not that I wished to write like any one else. I had a great idea of keeping to my own individuality, but I saw quite clearly that what I had in myself—all of it—was no real importance to any one. I might so well have been a butcher or baker for all that it mattered. I saw that I was one of those unfortunate people—there are many of them—just in between the artists and the shopkeepers. I was an artist all right, but not a good enough one to count; had I been a shopkeeper I might have sold my goods."
"Well, then, here's your question, Miss Cardinal. Why on earth did I go on writing? ... Simply because I couldn't help myself. Writing was the only thing in the world that gave me happiness. I thought too that there might be people, here and there, unknown to me who cared for what I did. Not many of course—I soon discovered that outside the small library set in London no one had ever heard of me. When I was younger I had fancied that that to me fiery blazing advertisement: "New Novel by William Magnus, author of ..." must cause men to stop in the street, exclaim, rush home to tell their wives, 'Do you know Magnus' new novel is out?'—now I realised that by nine out of every ten men and five out of every ten women the literary page in the paper is turned over with exactly the same impatience with which I turn over the betting columns. Anyway, why not? ... perfectly right. And then by this time I'd seen my old books, often enough, lying scattered amongst dusty piles in second-hand shops marked, 'All this lot 6d.' Hundreds and hundreds of six-shilling novels, dirty, degraded, ashamed ... I'd ask, sometimes, when I was very young, for my own works. 'What's the name? What? Magnus?—No, don't stock him. No demand. We could get you a copy, sir...' There it is. Why not laugh at it? I was doing perhaps the most useless thing in the world. A commonplace little water-colour, hung on a wall, can give happiness to heaps of people; a poor piece of music can do a thousand things, good and bad, but an unsuccessful novel—twenty unsuccessful novels! A whole row, with the same history awaiting their successors ... 'We welcome a new novel by Mr. William Magnus, who our readers will remember wrote that clever story ... The present work seems to us at least the equal of any that have preceded it.' ... A fortnight's advertisement—Dead silence. Some one in the Club, 'I see you've written another book, old man. You do turn 'em out.' A letter from a Press Agency who has never heard of one's name before, 'A little sheaf of thin miserable cuttings.' ... The Sixpenny Lot ... Ouf! And still I go on and shall go on until I die. Perhaps after all I'm more justified than any of them. I'm stripped of all reasons save the pleasure, the thrill, the torment, the hopes, the despairs of the work itself. I've got nothing else out of it and shall get nothing ... and therefore I'm justified. Now do you understand a little, Miss Cardinal?"
She half understood. She understood that he was compelled to do it just as some men are compelled to go to race meetings and just as Uncle Mathew was compelled to drink.