Four Years | Page 8

literary gossip for some provincial newspaper, that paid me a few shillings a month, he explained very explicitly that writing literary gossip was no job for a gentleman. Though to be compared to Homer passed the time pleasantly, I had not been greatly perturbed had he stopped me with 'Is it a long story?' as Henley would certainly have done. I was abashed before him as wit and man of the world alone. I remember that he deprecated the very general belief in his success or his efficiency, and I think with sincerity. One form of success had gone: he was no more the lion of the season, and he had not discovered his gift for writing comedy, yet I think I knew him at the happiest moment of his life. No scandal had darkened his fame, his fame as a talker was growing among his equals, & he seemed to live in the enjoyment of his own spontaneity. One day he began: 'I have been inventing a Christian heresy,' and he told a detailed story, in the style of some early father, of how Christ recovered after the Crucifixion and, escaping from the tomb, lived on for many years, the one man upon earth who knew the falsehood of Christianity. Once St. Paul visited his town and he alone in the carpenters' quarter did not go to hear him preach. The other carpenters noticed that henceforth, for some unknown reason, he kept his hands covered. A few days afterwards I found Wilde, with smock frocks in various colours spread out upon the floor in front of him, while a missionary explained that he did not object to the heathen going naked upon week days, but insisted upon clothes in church. He had brought the smock frocks in a cab that the only art-critic whose fame had reached Central Africa might select a colour; so Wilde sat there weighing all with a conscious ecclesiastic solemnity.

VIII
Of late years I have often explained Wilde to myself by his family history. His father, was a friend or acquaintance of my father's father and among my family traditions there is an old Dublin riddle: 'Why are Sir William Wilde's nails so black?' Answer, 'Because he has scratched himself.' And there is an old story still current in Dublin of Lady Wilde saying to a servant. 'Why do you put the plates on the coal-scuttle? What are the chairs meant for?' They were famous people and there are many like stories, and even a horrible folk story, the invention of some Connaught peasant, that tells how Sir William Wilde took out the eyes of some men, who had come to consult him as an oculist, and laid them upon a plate, intending to replace them in a moment, and how the eyes were eaten by a cat. As a certain friend of mine, who has made a prolonged study of the nature of cats, said when he first heard the tale, 'Catslove eyes.' The Wilde family was clearly of the sort that fed the imagination of Charles Lever, dirty, untidy, daring, and what Charles Lever, who loved more normal activities, might not have valued so highly, very imaginative and learned. Lady Wilde, who when I knew her received her friends with blinds drawn and shutters closed that none might see her withered face, longed always perhaps, though certainly amid much self mockery, for some impossible splendour of character and circumstance. She lived near her son in level Chelsea, but I have heard her say, 'I want to live on some high place, Primrose Hill or Highgate, because I was an eagle in my youth.' I think her son lived with no self mockery at all an imaginary life; perpetually performed a play which was in all things the opposite of all that he had known in childhood and early youth; never put off completely his wonder at opening his eyes every morning on his own beautiful house, and in remembering that he had dined yesterday with a duchess and that he delighted in Flaubert and Pater, read Homer in the original and not as a school-master reads him for the grammar. I think, too, that because of all that half-civilized blood in his veins, he could not endure the sedentary toil of creative art and so remained a man of action, exaggerating, for the sake of immediate effect, every trick learned from his masters, turning their easel painting into painted scenes. He was a parvenu, but a parvenu whose whole bearing proved that if he did dedicate every story in 'The House of Pomegranates' to a lady of title, it was but to show that he was Jack and the social ladder his pantomime beanstalk. "Did you ever hear him say 'Marquess of Dimmesdale'?" a