Marlborough should pipe in an idyllic strain on such subjects as domestic bliss, conscription, and content with modest station.
But if you say that this is somewhat formidable and remind me that the muse does not only stalk with majestic tread, but on occasion trips on a light fantastic toe; if, recalling the wise person who said that he did not care who made a nation’s laws so long as he wrote its songs, you ask me (thinking rightly that it would ill become the dukes to do so) who shall twang those measures on the lyre that the diverse and inconstant soul of man occasionally hankers after—I answer (obviously enough, I should have thought) the duchesses. I recognize that the day is past when the amorous peasants of the Romagna sang to their sweethearts the verses of Torquato Tasso and Mrs. Humphry Ward crooned over young Arnold’s cradle the choruses of ?dipus in Colonus. The age demands something more up-to-date. I suggest, therefore, that the more domestic duchesses should write our hymns and our nursery rhymes; while the skittish ones, those who incline to mingle vine leaves with the strawberry, should write the lyrics for musical comedies, humorous verse for the comic papers, and mottoes for Christmas cards and crackers. Thus would they retain in the hearts of the British public that place which they have held hitherto only on account of their exalted station.
It was at these parties on Saturday afternoon that I discovered very much to my surprise that Edward Driffield was a distinguished person. He had written something like twenty books, and though he had never made more than a pittance out of them his reputation was considerable. The best judges admired them and the friends who came to his house were agreed that one of these days he would be recognized. They rated the public because it would not see that here was a great writer, and since the easiest way to exalt one man is to kick another in the pants, they reviled freely all the novelists whose contemporary fame obscured his. If, indeed, I had known as much of literary circles as I learned later I should have guessed by the not infrequent visits of Mrs. Barton Trafford that the time was approaching when Edward Driffield, like a runner in a long-distance race breaking away suddenly from the little knot of plodding athletes, must forge ahead. I admit that when first I was introduced to this lady her name meant nothing to me. Driffield presented me as a young neighbour of his in the country and told her that I was a medical student. She gave me a mellifluous smile, murmured in a soft voice something about Tom Sawyer, and, accepting the bread and butter I offered her, went on talking with her host. But I noticed that her arrival had made an impression and the conversation, which had been noisy and hilarious, was hushed. When in an undertone I asked who she was, I found that my ignorance was amazing; I was told that she had “made” So and So and So and So. After half an hour she rose, shook hands very graciously with such of the people as she was acquainted with, and with a sort of lithe sweetness sidled out of the room. Driffield accompanied her to the door and put her in a hansom.
Mrs. Barton Trafford was then a woman of about fifty; she was small and slight, but with rather large features, which made her head look a little too big for her body; she had crisp white hair which she wore like the Venus of Milo, and she was supposed in her youth to have been very comely. She dressed discreetly in black silk, and wore round her neck jangling chains of beads and shells. She was said to have been unhappily married in early life, but now for many years had been congenially united to Barton Trafford, a clerk in the Home Office and a well-known authority on prehistoric man. She gave you the curious impression of having no bones in her body and you felt that if you pinched her shin (which of course my respect for her sex as well as something of quiet dignity in her appearance would have never allowed me to do) your fingers would meet. When you took her hand it was like taking a fillet of sole. Her face, notwithstanding its large features, had something fluid about it. When she sat it was as though she had no backbone and were stuffed, like an expensive cushion, with swansdown.
Everything was soft about her, her voice, her smile, her laugh; her eyes, which were small and pale, had the softness of flowers; her manner was as soft as the summer rain. It was this extraordinary, and charming, characteristic that made her the wonderful friend she was. It was this that had gained her the celebrity that she now enjoyed. The whole world was aware of her friendship with the great novelist whose death a few years back had come as such a shock to the English-speaking peoples. Everyone had read the innumerable letters which he had written to her and which she was induced to publish shortly after his demise. Every page revealed his admiration for her beauty and his respect for her judgment; he could never say often enough how much he owed to her encouragement, her ready sympathy, her tact, her taste; and if certain of his expressions of passion were such as some persons might think would not be read by Mr. Barton Trafford with unmixed feelings, that only added to the human interest of the work. But Mr. Barton Trafford was above the prejudices of vulgar men (his misfortune, if such it was, was one that the greatest personages in history have endured with philosophy) and, abandoning his studies of aurignacian flints and neolithic ax heads he consented to write a Life of the deceased novelist in which he showed quite definitely how great a part of the writer’s genius was due to his wife’s influence.
But Mrs. Barton Trafford’s interest in literature, her passion for art, were not dead because the friend for whom she had done so much had become part, with her far from negligible assistance, of posterity. She was a great reader. Little that was noteworthy escaped her attention and she was quick to establish personal relations with any young writer who showed promise. Her fame, especially since the Life, was now such that she was sure that no one would hesitate to accept the sympathy she was prepared to offer. It was inevitable that Mrs. Barton Trafford’s genius for friendship should in due course find an outlet. When she read something that struck her, Mr. Barton Trafford, himself no mean critic, wrote a warm letter of appreciation to the author and asked him to luncheon. After luncheon, having to get back to the Home Office, he left him to have a chat with Mrs. Barton Trafford. Many were called. They all had
She was so cautious indeed that with Jasper Gibbons she almost missed the bus. The records of the past tell us of writers who grew famous in a night, but in our more prudent day this is unheard of. The critics want to see which way the cat will jump, and the public has been sold a pup too often to take unnecessary chances. But in the case of Jasper Gibbons it is almost the exact truth that he did thus jump into celebrity. Now that he is so completely forgotten and the critics who praised him would willingly eat their words if they were not carefully guarded in the files of innumerable newspaper offices, the sensation he made with his first volume of poems is almost unbelievable. The most important papers gave to reviews of them as much space as they would have to the report of a prize fight; the most influential critics fell over one another in their eagerness to welcome him. They likened him to Milton (for the sonority of his blank verse), to Keats (for the opulence of his sensuous imagery), and to Shelley (for his airy fantasy); and, using him as a stick to beat idols of whom they were weary, they gave in his name many a resounding whack on the emaciated buttocks of Lord Tennyson and a few good husky smacks on the bald pate of Robert Browning. The public fell like the walls of Jericho. Edition after edition was sold, and you saw Jasper Gibbons’s handsome volume in the boudoirs of countesses in Mayfair, in vicarage drawing rooms from Land’s End to John o’ Groats, and in the parlours of many an honest but cultured merchant in Glasgow, Aberdeen, and Belfast. When it became, known that Queen Victoria had accepted a specially bound copy of the book from the hands of the loyal publisher, and had given him (not the poet, the publisher) a copy of
And all this happened as it were in the twinkling of an eye. Seven cities in Greece disputed the honour of having given birth to Homer, and though Jasper Gibbons’s birthplace (Walsall) was well known, twice seven critics claimed the honour of having discovered him; eminent judges of literature who for twenty years had written eulogies of one another’s works in the weekly papers quarrelled so bitterly over this matter that one cut the other dead in the Athen?um. Nor was the great world remiss in giving him its recognition. Jasper Gibbons was asked to luncheon and invited to tea by dowager duchesses, the wives of cabinet ministers, and the widows of bishops. It is said that Harrison Ainsworth was the first English man of letters to move in English society on terms of equality (and I have sometimes wondered that an enterprising publisher on this account has not thought of bringing out a complete edition of his works); but I believe that Jasper Gibbons was the first poet to have his name engraved at the bottom of an At Home card as a draw as enticing as an opera singer or a ventriloquist.
