Everybody knows that Forster was the reverse of a Little Englander. In the days when Mr. Chamberlain was still the parochial politician, and the Manchester School a power in the land, Forster never lost an opportunity of trying to inspire his fellow-countrymen with the sense of the greatness of their Imperial position, and of the duties which it imposed upon them. As founder of the Imperial Federation League, he put himself at the head of those English statesmen whose names will be identified with the union of Great Britain and her Colonies in the Empire which we know to-day. He got very little help from the leading politicians on either side. Mr. Chamberlain, who now talks as though the foundation-stone of the Empire was laid in the suburbs of Birmingham, gave him no aid at all, nor did the active spirits of the Opposition. It seemed as though most of his old colleagues and opponents regarded Forster's strenuous advocacy of Imperial Federation as an attempt on his part to keep his name before the public eye. There was one rising young politician, however, who took a different view of Forster's action, and who not only sympathised with his motives, but threw himself into the cause of which he was the leader. This was Lord Rosebery, and to him and to Forster belongs the lion's share of the credit for the creation and development of that sense of Imperial unity which is to-day so great a factor in the life of the Empire.
At that time Forster's friends had no suspicion that his public career was drawing to a close. He was many years younger than Mr. Gladstone, was full of vigour and of an enthusiasm that was almost youthful in its exuberance, and he seemed to have a long life of work before him. But a trivial incident revealed to me the fact that things were not as they seemed, and that this great sturdy Englishman was by no means in the state of health that men supposed. When walking in Switzerland, he had accidentally injured the nail of his great toe, and it was necessary to remove it. Forster regarded the operation as a slight one, and was anxious that cocaine should be used as an anaesthetic, so that he might, as he said to me, "have the fun" of witnessing the actual operation. When the time came, however, it was found to be a much more serious matter than Forster had supposed. The operation was performed under chloroform by an eminent surgeon, and this gentleman told me after the operation that he had discovered that Forster's health was in a very unsatisfactory condition. Indeed, this little accident was the beginning of the end, though few at the time suspected the fact.
Before closing this chapter, I may make some further reference to my friend Mr. Stead. The retirement of John Morley from the P_all Mall Gazette_ had led to Mr. Stead's promotion, and he had become the virtual, if not the nominal editor of the paper. He was not long in impressing the public with the fact that a new and original force had entered English public life. "I am riding on the crest of the wave," he wrote to me one day, and such was indeed the fact. The influence of the paper which he controlled became for a time almost paramount, and Mr. Stead revelled in his power with all the zest of a schoolboy who has suddenly been called to sit on the throne of an autocrat. He calmly undertook the direction of the foreign policy of Great Britain, and ordered Ministers to do his bidding with an audacity which would have been absurd but for the fact that Ministers seemed ready to take him at his word. He it was who first advised them to the evil course of sending Gordon to Khartoum. "Sarawak the Soudan" was the cry he raised, his proposal being that Gordon should be sent to found an empire of his own on the upper Nile. Ministers yielded to his vehemence, and Gordon was sent to Khartoum, with what results everybody knows. Mr. Stead had the courage of his opinions, and he was not in the least disconcerted when he found that his advice had involved the country in the tragical and disastrous expedition for Gordon's relief. Talking to me one day at that time, he said, "John Morley told me yesterday that I ought not to be able to sleep in my bed at nights for thinking of all the men who have lost their lives over this business." If at any time in my life I had been inclined to believe in government by newspapers, I should certainly have been cured of that delusion after seeing what a mess even so brilliant a journalist as Stead made of the attempt to control the policy of a nation from an editor's desk.
CHAPTER XVI.
NOVELS AND NOVELISTS.
"The Lumley Entail"—"Gladys Fane"—My Experience in Novel Writing—About
Sad Endings—Imaginary Characters and Characters Drawn from Life—Visits
from William Black and Bret Harte—Black as an After-Dinner Sneaker—How
Bret Harte saw Haworth Parsonage, and was Roughly Entreated by a
Yorkshire Admirer—A Candid Opinion on the Brontë Monograph.
I now propose to hark back a little in order to bring together some reminiscences and experiences that lie apart from the graver political events with which I have been dealing. To begin with, I made a serious attempt at novel-writing in 1883. Perhaps my friendship with William Black and James Payn had some influence in leading me to revert to a kind of work which in my youth had attracted me greatly. I had already, as I have said, written one novel, "The Lumley Entail," published in the St. James's Magazine, and long since forgotten by everybody, including its author. I had begun half-a-dozen different stories at various times, but had always failed to make much progress with them. One or two short stories that had appeared in Christmas Numbers of the Leeds Mercury and sundry magazines had not been wholly unsuccessful, and so, after long cogitation, in the year 1883 I wrote "Gladys Fane: A Story of Two Lives." Of its merits I cannot speak, but it gave me great pleasure to write it, and it had a friendly reception both from the critics and the public. In this country it had a very large sale, and in the United States a still larger. The strange thing is that here the book still sells, and once a year I receive from the publisher, Mr. Fisher Unwin, a modest sum in payment of the royalties due to me on the sales.
Perhaps I may say something on the strength of my limited experience on the subject of novel-writing. It may seem presumptuous to do so, seeing that everybody nowadays either writes a novel or thinks that he or she can do so. My own experience taught me that in novel-writing, as in most descriptions of work, there is a particular knack to be acquired before success can be attained. I think I must have been absolutely without this knack when I began to write "Gladys Fane." I was a good descriptive writer, and could describe either scenery or action sufficiently well, but when I tried my hand at conversation I was utterly at sea. I could not make my men and women talk as men and women do in real life. Before I had finished the story I had got the knack, and if I were ever to write another I have no doubt that I could manage the conversation fairly well. Of course, even without the knack a writer may achieve, under certain conditions, a great success; but to do so he must feel his story; that is to say, it must be as real to him as if it were something that had actually happened. Undoubtedly I had this feeling about "Gladys Fane," and this, I imagine, was the one merit which secured for the book the degree of success that it attained. I remember that when I wrote the closing chapter, in which the hero meets with a tragical death, I was under the influence of as poignant an emotion as I should have experienced if I had been standing by the deathbed of my dearest friend. Great was my joy, after the story was published, to read a generous review of the book in the Standard, in which the reviewer said that he did not envy the man who could read that last chapter with a steady voice and an undimmed eye. I saw that others had been infected by the emotion which almost overwhelmed me as I penned the closing pages of the book.
The sad ending which is so hateful to the ordinary reader is regarded by some reviewers as a cheap device for enlisting popular attention, and many complaints have been made of its having been used unnecessarily. There may be some writers who deliberately make up their minds to bring their stories to a tragical conclusion, but if such persons exist they must be very bad artists. In my own case I certainly did not contemplate a sad ending when I began to write my novel; but week by week, as I wrote, I became more and more forcibly impressed with the feeling that the doom of my hero was sealed. I tried to get away from this morbid conclusion, and to wrench the story into another channel, but I failed utterly in the attempt, so that at last I had to yield, though, as I have said, I did so with keen regret. William Black, when discussing with me one day the question of the sad ending, said, "People may say what they like, but I know, as a matter of experience, that a book which ends sorrowfully is always remembered far more vividly than one that winds up in the usual fashion with the ringing of marriage-bells." This is quite true, but the young novelist who wants his novels to sell, ought carefully to avoid the tragical dénouement, for there are a great many readers who deliberately refuse to read any book which ends sadly. Therefore, though art may require such an ending, from the commercial side of literature it is a huge mistake. Mr. Forster came to me at the time when "Gladys Fane" was in the flush of its first success, and told me with his usual kindly bluntness that he was not going to read it. "My wife has read it, and likes it, but I am not going to make myself miserable by reading any story that ends sadly. You must write another that I can read." And it was this chance remark that led to my next essay in fiction, of which more hereafter.
I had one curious experience in writing "Gladys Fane" that may or may not be common to most novelists. Certain of the characters were founded upon real men and women. I painted no portraits, of course, but I undoubtedly took hints from people whom I knew. My heroine, for example, had a prototype in real life, who served for the first sketch, but as I wrote I made her character develop until she was a wholly different woman from her model. Black, criticising the story in a letter, remarked that the further the heroine was removed from all likeness to the original, the more natural and real she became. But still more striking was the fact that most of my critics agreed that the most real characters in the book, those that struck them as being most lifelike and individual, were purely imaginary creations of my own. "I like your villain," wrote Lord Houghton. "He is the most impressive figure in the book. Wherever did you meet him?" As a matter of fact, I had met him nowhere, and could not charge myself with having taken even a hint in drawing his portrait from anybody whom I knew or had heard of. Some of the minor characters were unhesitatingly described by critics as portraits evidently drawn from life. In no single instance had they been so drawn. I had imagined them simply. It would be interesting to know if this is the experience of other writers of romance. I am bound to speak with modesty and diffidence, because of my very limited experience in this kind of work. I have only touched upon the subject, indeed, because I think it may interest my readers to know something of the secrets of the workshop of even the humblest literary artist.