Cashel Byron's Profession Part 14

"Very good, Mrs. Hoskyn," said Lord Worthington, looking cunningly at the bewildered Bedford. "You shall have a celebrity--a real one--none of your mouldy old Germans--if I can only get him to come. If any of her people don't like him they can tell him so. Eh, Bedford?"

CHAPTER VI

Next evening, Lydia and Alice reached Mrs. Hoskyn's house in Campden Hill Road a few minutes before ten o'clock. They found Lord Worthington in the front garden, smoking and chatting with Mr. Hoskyn. He threw away his cigar and returned to the house with the two ladies, who observed that he was somewhat flushed with wine. They went into a parlor to take off their wraps, leaving him at the foot of the stairs. Presently they heard some one come down and address him excitedly thus,

"Worthington. Worthington. He has begun making a speech before the whole room. He got up the moment old Abendga.s.se sat down. Why the deuce did you give him that gla.s.s of champagne?"

"Sh-sh-s.h.!.+ You don't say so! Come with me; and let us try to get him away quietly."

"Did you hear that?" said Alice. "Something must have happened."

"I hope so," said Lydia. "Ordinarily, the fault in these receptions is that nothing happens. Do not announce us, if you please," she added to the servant, as they ascended the stairs. "Since we have come late, let us spare the feelings of Herr Abendga.s.se by going in as quietly as possible."

They had no difficulty in entering unnoticed, for Mrs. Hoskyn considered obscurity beautiful; and her rooms were but dimly lighted by two curious lanterns of pink gla.s.s, within which were vaporous flames. In the middle of the larger apartment was a small table covered with garnet-colored plush, with a reading-desk upon it, and two candles in silver candlesticks, the light of which, being brighter than the lanterns, cast strong double shadows from a group of standing figures about the table.

The surrounding s.p.a.ce was crowded with chairs, occupied chiefly by ladies. Behind them, along the wall, stood a row of men, among whom was Lucian Webber. All were staring at Cashel Byron, who was making a speech to some bearded and spectacled gentlemen at the table. Lydia, who had never before seen him either in evening dress or quite at his ease, was astonished at his bearing. His eyes were sparkling, his confidence overbore the company, and his rough voice created the silence it broke.

He was in high good-humor, and marked his periods by the swing of his extended left arm, while he held his right hand close to his body and occasionally pointed his remarks by slyly wagging his forefinger.

"--executive power," he was saying as Lydia entered. "That's a very good expression, gentlemen, and one that I can tell you a lot about. We have been told that if we want to civilize our neighbors we must do it mainly by the example of our own lives, by each becoming a living ill.u.s.tration of the highest culture we know. But what I ask is, how is anybody to know that you're an ill.u.s.tration of culture. You can't go about like a sandwich man with a label on your back to tell all the fine notions you have in your head; and you may be sure no person will consider your mere appearance preferable to his own. You want an executive power; that's what you want. Suppose you walked along the street and saw a man beating a woman, and setting a bad example to the roughs. Well, you would be bound to set a good example to them; and, if you're men, you'd like to save the woman; but you couldn't do it by merely living; for that would be setting the bad example of pa.s.sing on and leaving the poor creature to be beaten. What is it that you need to know then, in order to act up to your fine ideas? Why, you want to know how to hit him, when to hit him, and where to hit him; and then you want the nerve to go in and do it. That's executive power; and that's what's wanted worse than sitting down and thinking how good you are, which is what this gentleman's teaching comes to after all. Don't you see? You want executive power to set an example. If you leave all that to the roughs, it's their example that will spread, and not yours. And look at the politics of it. We've heard a good deal about the French to-night. Well, they've got executive power. They know how to make a barricade, and how to fight behind it when they've made it. What's the result? Why, the French, if they only knew what they wanted, could have it to-morrow for the asking--more's the pity that they don't know. In this country we can do nothing; and if the lords and the landlords, or any other collection of n.o.bs, were to drive us into the sea, what could we do but go? There's a gentleman laughing at me for saying that; but I ask him what would he do if the police or the soldiers came this evening and told him to turn out of his comfortable house into the Thames? Tell 'em he wouldn't vote for their employers at the next election, perhaps? Or, if that didn't stop them, tell 'em that he'd ask his friends to do the same? That's a pretty executive power! No, gentlemen. Don't let yourself be deceived by people that have staked their money against you. The first thing to learn is how to fight. There's no use in buying books and pictures unless you know how to keep them and your own head as well. If that gentleman that laughed know how to fight, and his neighbors all knew how to fight too, he wouldn't need to fear police, nor soldiers, nor Russians, nor Prussians, nor any of the millions of men that may be let loose on him any day of the week, safe though he thinks himself. But, says you, let's have a division of labor. Let's not fight for ourselves, but pay other men to fight for us. That shows how some people, when they get hold of an idea, will work it to that foolish length that it's wearisome to listen to them. Fighting is the power of self-preservation; another man can't do it for you. You might as well divide the labor of eating your dinner, and pay one fellow to take the beef, another the beer, and a third the potatoes. But let us put it for the sake of argument that you do pay others to fight for you. Suppose some one else pays them higher, and they fight a cross, or turn openly against you! You'd have only yourself to blame for giving the executive power to money. And so long as the executive power is money the poor will be kept out of their corner and fouled against the ropes; whereas, by what I understand, the German professor wants them to have their rights. Therefore I say that a man's first duty is to learn to fight. If he can't do that he can't set an example; he can't stand up for his own rights or his neighbors'; he can't keep himself in bodily health; and if he sees the weak ill-used by the strong, the most he can do is to sneak away and tell the nearest policeman, who most likely won't turn up until the worst of the mischief is done. Coming to this lady's drawing-room, and making an ill.u.s.tration of himself, won't make him feel like a man after that. Let me be understood, though, gentlemen: I don't intend that you should take everything I say too exactly--too literally, as it were. If you see a man beating a woman, I think you should interfere on principle. But don't expect to be thanked by her for it; and keep your eye on her; don't let her get behind you. As for him, just give him a good one and go away. Never stay to get yourself into a street fight; for it's low, and generally turns out badly for all parties. However, that's only a bit of practical advice. It doesn't alter the great principle that you should get an executive power. When you get that, you'll have courage in you; and, what's more, your courage will be of some use to you. For though you may have courage by nature, still, if you haven't executive power as well, your courage will only lead you to stand up to be beaten by men that have both courage and executive power; and what good does that do you? People say that you're a game fellow; but they won't find the stakes for you unless you can win them. You'd far better put your game in your pocket, and throw up the sponge while you can see to do it.

"Now, on this subject of game, I've something to say that will ease the professor's mind on a point that he seemed anxious about. I am no musician; but I'll just show you how a man that understands one art understands every art. I made out from the gentleman's remarks that there is a man in the musical line named Wagner, who is what you might call a game sort of composer; and that the musical fancy, though they can't deny that his tunes are first-rate, and that, so to speak, he wins his fights, yet they try to make out that he wins them in an outlandish way, and that he has no real science. Now I tell the gentleman not to mind such talk. As I have just shown you, his game wouldn't be any use to him without science. He might have beaten a few second-raters with a rush while he was young; but he wouldn't have lasted out as he has done unless he was clever as well. You will find that those that run him down are either jealous, or they are old stagers that are not used to his style, and think that anything new must be bad. Just wait a bit, and, take my word for it, they'll turn right round and swear that his style isn't new at all, and that he stole it from some one they saw when they were ten years old. History shows us that that is the way of such fellows in all ages, as the gentleman said; and he gave you Beethoven as an example. But an example like that don't go home to you, because there isn't one man in a million that ever heard of Beethoven. Take a man that everybody has heard of--Jack Randall! The very same things were said of HIM. After that, you needn't go to musicians for an example. The truth is, that there are people in the world with that degree of envy and malice in them that they can't bear to allow a good man his merits; and when they have to admit that he can do one thing, they try to make out that there's something else he can't do. Come: I'll put it to you short and business-like. This German gentleman, who knows all about music, tells you that many pretend that this Wagner has game but no science.

Well, I, though I know nothing about music, will bet you twenty-five pounds that there's others that allow him to be full of science, but say that he has no game, and that all he does comes from his head, and not from his heart. I will. I'll bet twenty-five pounds on it, and let the gentleman of the house be stakeholder, and the German gentleman referee.

Eh? Well, I'm glad to see that there are no takers.

"Now we'll go to another little point that the gentleman forgot. He recommended you to LEARN--to make yourselves better and wiser from day to day. But he didn't tell you why it is that you won't learn, in spite of his advice. I suppose that, being a foreigner, he was afraid of hurting your feelings by talking too freely to you. But you're not so thin-skinned as to take offence at a little plain-speaking, I'll be bound; so I tell you straight out that the reason you won't learn is not that you don't want to be clever, or that you are lazier than many that have learned a great deal, but just because you'd like people to think that you know everything already--because you're ashamed to be seen going to school; and you calculate that if you only hold your tongue and look wise you'll get through life without your ignorance being found out. But where's the good of lies and pretence? What does it matter if you get laughed at by a cheeky brat or two for your awkward beginnings?

What's the use of always thinking of how you're looking, when your sense might tell you that other people are thinking about their own looks and not about yours? A big boy doesn't look well on a lower form, certainly, but when he works his way up he'll be glad he began. I speak to you more particularly because you're Londoners; and Londoners beat all creation for thinking about themselves. However, I don't go with the gentleman in everything he said. All this struggling and striving to make the world better is a great mistake; not because it isn't a good thing to improve the world if you know how to do it, but because striving and struggling is the worst way you could set about doing anything. It gives a man a bad style, and weakens him. It shows that he don't believe in himself much. When I heard the professor striving and struggling so earnestly to set you to work reforming this, that, and the other, I said to myself, 'He's got himself to persuade as well as his audience. That isn't the language of conviction.' Whose--"

"Really, sir," said Lucian Webber, who had made his way to the table, "I think, as you have now addressed us at considerable length, and as there are other persons present whose opinions probably excite as much curiosity as yours--" He was interrupted by a, "Hear, hear," followed by "No, no," and "Go on," uttered in more subdued tones than are customary at public meetings, but with more animation than is usually displayed in drawing-rooms. Cashel, who had been for a moment somewhat put out, turned to Lucian and said, in a tone intended to repress, but at the same time humor his impatience, "Don't you be in a hurry, sir. You shall have your turn presently. Perhaps I may tell you something you don't know, before I stop." Then he turned again to the company, and resumed.

"We were talking about effort when this young gentleman took it upon himself to break the ring. Now, nothing can be what you might call artistically done if it's done with an effort. If a thing can't be done light and easy, steady and certain, let it not be done at all. Sounds strange, doesn't it? But I'll tell you a stranger thing. The more effort you make, the less effect you produce. A WOULD-BE artist is no artist at all. I see that in my own profession (never mind what that profession is just at present, as the ladies might think the worse of me for it).

But in all professions, any work that shows signs of labor, straining, yearning--as the German gentleman said--or effort of any kind, is work beyond the man's strength that does it, and therefore not well done.

Perhaps it's beyond his natural strength; but it is more likely that he was badly taught. Many teachers set their pupils on to strain, and stretch, so that they get used up, body and mind, in a few months.

Depend upon it, the same thing is true in other arts. I once taught a fiddler that used to get a hundred guineas for playing two or three tunes; and he told me that it was just the same thing with the fiddle--that when you laid a tight hold on your fiddle-stick, or even set your teeth hard together, you could do nothing but rasp like the fellows that play in bands for a few s.h.i.+llings a night."

"How much more of this nonsense must we endure?" said Lucian, audibly, as Cashel stopped for breath. Cashel turned and looked at him.

"By Jove!" whispered Lord Worthington to his companion, "that fellow had better be careful. I wish he would hold his tongue."

"You think it's nonsense, do you?" said Cashel, after a pause. Then he raised one of the candles, and illuminated a picture that hung on the wall, "Look at that picture," he said. "You see that fellow in armor--St. George and the dragon, or whatever he may be. He's jumped down from his horse to fight the other fellow--that one with his head in a big helmet, whose horse has tumbled. The lady in the gallery is half crazy with anxiety for St. George; and well she may be. THERE'S a posture for a man to fight in! His weight isn't resting on his legs; one touch of a child's finger would upset him. Look at his neck craned out in front of him, and his face as flat as a full moon towards his man, as if he was inviting him to shut up both his eyes with one blow. You can all see that he's as weak and nervous as a cat, and that he doesn't know how to fight. And why does he give you that idea? Just because he's all strain and stretch; because he isn't at his ease; because he carries the weight of his body as foolishly as one of the ladies here would carry a hod of bricks; because he isn't safe, steady, and light on his pins, as he would be if he could forget himself for a minute, and leave his body to find its proper balance of its own accord. If the painter of that picture had known his business he would never have sent his man up to the scratch in such a figure and condition as that. But you can see with one eye that he didn't understand--I won't say the principles of fighting, but the universal principles that I've told you of, that ease and strength, effort and weakness, go together. Now," added Cashel, again addressing Lucian; "do you still think that notion of mine nonsense?" And he smacked his lips with satisfaction; for his criticism of the picture had produced a marked sensation, and he did not know that this was due to the fact that the painter, Mr. Adrian Herbert, was present.

Lucian tried to ignore the question; but he found it impossible to ignore the questioner. "Since you have set the example of expressing opinions without regard to considerations of common courtesy," he said, shortly, "I may say that your theory, if it can be called one, is manifestly absurd."

Cashel, apparently unruffled, but with more deliberation of manner than before, looked about him as if in search of a fresh ill.u.s.tration. His glance finally rested on the lecturer's seat, a capacious crimson damask arm-chair that stood unoccupied at some distance behind Lucian.

"I see you're no judge of a picture," said he, good-humoredly, putting down the candle, and stepping in front of Lucian, who regarded him haughtily, and did not budge. "But just look at it in this way. Suppose you wanted to hit me the most punis.h.i.+ng blow you possibly could. What would you do? Why, according to your own notion, you'd make a great effort. 'The more effort the more force,' you'd say to yourself. 'I'll smash him even if I burst myself in doing it.' And what would happen then? You'd only cut me and make me angry, besides exhausting all your strength at one gasp. Whereas, if you took it easy--like this--" Here he made a light step forward and placed his open palm gently against the breast of Lncian, who instantly reeled back as if the piston-rod of a steam-engine had touched him, and dropped into the chair.

"There!" exclaimed Cashel, standing aside and pointing to him. "It's like pocketing a billiard-ball!"

A chatter of surprise, amus.e.m.e.nt, and remonstrance spread through the rooms; and the company crowded towards the table. Lucian rose, white with rage, and for a moment entirely lost his self-control. Fortunately, the effect was to paralyze him; he neither moved nor spoke, and only betrayed his condition by his pallor and the hatred in his expression.

Presently he felt a touch on his arm and heard his name p.r.o.nounced by Lydia. Her voice calmed him. He tried to look at her, but his vision was disturbed; he saw double; the lights seemed to dunce before his eyes; and Lord Worthington's voice, saying to Cashel, "Rather too practical, old fellow," seemed to come from a remote corner of the room, and yet to be whispered into his ear. He was moving irresolutely in search of Lydia when his senses and his resentment were restored by a clap on the shoulder.

"You wouldn't have believed that now, would you?" said Cashel. "Don't look startled; you've no bones broken. You had your little joke with me in your own way; and I had mine in MY own way. That's only--"

He stopped; his brave bearing vanished; he became limp and shamefaced.

Lucian, without a word, withdrew with Lydia to the adjoining apartment, and left him staring after her with wistful eyes and slackened jaw.

In the meantime Mrs. Hoskyn, an earnest-looking young woman, with striking dark features and gold spectacles, was looking for Lord Worthington, who betrayed a consciousness of guilt by attempting to avoid her. But she cut off his retreat, and confronted him with a steadfast gaze that compelled him to stand and answer for himself.

"Who is that gentleman whom you introduced to me? I do not recollect his name."

"I am really awfully sorry, Mrs. Hoskyn. It was too bad of Byron. But Webber was excessively nasty."

Mrs. Hoskyn, additionally annoyed by apologies which she had not invited, and which put her in the ignominious position of a complainant, replied coldly, "Mr. Byron! Thank you; I had forgotten," and was turning away when Lydia came up to introduce Alice, and to explain why she had entered unannounced. Lord Worthington then returned to the subject of Cashel, hoping to improve his credit by claiming Lydia's acquaintance with him.

"Did you hear our friend Byron's speech, Miss Carew? Very characteristic, I thought."

"Very," said Lydia. "I hope Mrs. Hoskyn's guests are all familiar with his style. Otherwise they must find him a little startling."

"Yes," said Mrs. Hoskyn, beginning to wonder whether Cashel could be some well-known eccentric genius. "He is very odd. I hope Mr. Webber is not offended."

"He is the less pleased as he was in the wrong," said Lydia. "Intolerant refusal to listen to an opponent is a species of violence that has no business in such a representative nineteenth-century drawing-room as yours, Mrs. Hoskyn. There was a fitness in rebuking it by skilled physical violence. Consider the prodigious tact of it, too! One gentleman knocks another half-way across a crowded room, and yet no one is scandalized."

"You see, Mrs. Hoskyn, the general verdict is 'Served him right,'" said Lord Worthington.

"With a rider to the effect that both gentlemen displayed complete indifference to the comfort of their hostess," said Lydia. "However, men so rarely sacrifice their manners to their minds that it would be a pity to blame them. You do not encourage conventionality, Mrs. Hoskyn?"

"I encourage good manners, though certainly not conventional manners."

"And you think there is a difference?"

"I FEEL that there is a difference," said Mrs. Hoskyn, with dignity.

"So do I," said Lydia; "but one can hardly call others to account for one's own subjective ideas."

Lydia went away to another part of the room without waiting for a reply.

Meanwhile, Cashel stood friendless in the middle of the room, stared at by most of his neighbors, and spoken to by none. Women looked at him coldly lest it should be suspected that they were admiring him; and men regarded him stiffly according to the national custom. Since his recognition of Lydia, his self-confidence had given place to a misgiving that he had been making a fool of himself. He began to feel lonely and abashed; and but for his professional habit of maintaining a cheerful countenance under adverse circ.u.mstances, he would have hid himself in the darkest corner of the room. He was getting sullen, and seeking consolation in thoughts of how terribly he could handle all these distantly-mannered, black-coated gentlemen if he chose, when Lord Worthington came up to him.

"I had no idea you were such an orator, Byron," he said. "You can go into the Church when you cut the other trade. Eh?"

"I wasn't brought up to the other trade," said Cashel; "and I know how to talk to ladies and gentlemen as well as to what you'd suppose to be my own sort. Don't you be anxious about me, my lord. I know how to make myself at home."

"Of course, of course," said Lord Worthington, soothingly. "Every one can see by your manners that you are a gentleman; they recognize that even in the ring. Otherwise--I know you will excuse my saying so--I daren't have brought you here."

Cashel shook his head, but was pleased. He thought he hated flattery; had Lord Worthington told him that he was the best boxer in England--which he probably was--he would have despised him. But he wished to believe the false compliment to his manners, and was therefore perfectly convinced of its sincerity. Lord Worthington perceived this, and retired, pleased with his own tact, in search of Mrs. Hoskyn, to claim her promise of an introduction to Madame Szczymplica, which Mrs.

Hoskyn had, by way of punis.h.i.+ng him for Cashel's misdemeanor, privately determined not to redeem.