Cakes and Ale

“Ah, well, I suppose you’re like everyone else. I must expect to be dropped now that you’re a success.”

That of course is what he would like to do if he had the courage. For the most part he hasn’t. He weakly accepts an invitation to supper on Sunday evening. The cold roast beef is frozen and comes from Australia and was over-cooked at middle day; and the burgundy—ah, why will they call it burgundy? Have they never been to Beaune and stayed at the Hotel de la Poste? Of course it is grand to talk of the good old days when you shared a crust of bread in a garret together, but it is a little disconcerting when you reflect how near to a garret is the room you are sitting in. You feel ill at ease when your friend tells you that his books don’t sell and that he can’t place his short stories; the managers won’t even read his plays, and when he compares them with some of the stuff that’s put on (here he fixes you with an accusing eye) it really does seem a bit hard. You are embarrassed and you look away. You exaggerate the failures you have had in order that he may realize that life has its hardships for you too. You refer to your work in the most disparaging way you can and are a trifle taken aback to find that your host’s opinion of it is the same as yours. You speak of the fickleness of the public so that he may comfort himself by thinking that your popularity cannot last. He is a friendly but severe critic.

“I haven’t read your last book,” he says, “but I read the one before. I’ve forgotten its name.”

You tell him.

“I was rather disappointed in it. I didn’t think it was quite so good as some of the things you’ve done. Of course you know which my favourite is.”

And you, having suffered from other hands than his, answer at once with the name of the first book you ever wrote; you were twenty then, and it was crude and ingenuous, and on every page was written your inexperience.

“You’ll never do anything so good as that,” he says heartily, and you feel that your whole career has been a long decadence from that one happy hit. “I always think you’ve never quite fulfilled the promise you showed then.”

The gas fire roasts your feet, but your hands are icy. You look at your wrist watch surreptitiously and wonder whether your old friend would think it offensive if you took your leave as early as ten. You have told your car to wait round the corner so that it should not stand outside the door and by its magnificence affront his poverty, but at the door he says:

“You’ll find a bus at the bottom of the street. I’ll just walk down with you.”

Panic seizes you and you confess that you have a car. He finds it very odd that the chauffeur should wait round the corner. You answer that this is one of his idiosyncrasies. When you reach it your friend looks at it with tolerant superiority. You nervously ask him to dinner with you one day. You promise to write to him and you drive away wondering whether when he comes he will think you are swanking if you ask him to Claridge’s or mean if you suggest Soho.

Roy Kear suffered from none of these tribulations. It sounds a little brutal to say that when he had got all he could out of people he dropped them; but it would take so long to put the matter more delicately, and would need so subtle an adjustment of hints, half-tones, and allusions, playful or tender, that such being at bottom the fact, I think it as well to leave it at that. Most of us when we do a caddish thing harbour resentment against the person we have done it to, but Roy’s heart, always in the right place, never permitted him such pettiness. He could use a man very shabbily without afterward bearing him the slightest ill-will.

“Poor old Smith,” he would say. “He is a dear; I’m so fond of him. Pity he’s growing so bitter. I wish one could do something for him. No, I haven’t seen him for years. It’s no good trying to keep up old friendships. It’s painful for both sides. The fact is, one grows out of people, and the only thing is to face it.”

But if he ran across Smith at some gathering like the private view of the Royal Academy no one could be more cordial. He wrung his hand and told him how delighted he was to see him. His face beamed. He shed good fellowship as the kindly sun its rays. Smith rejoiced in the glow of this wonderful vitality and it was damned decent of Roy to say he’d give his eye-teeth to have written a book half as good as Smith’s last. On the other hand, if Roy thought Smith had not seen him, he looked the other way; but Smith had seen him, and Smith resented being cut. Smith was very acid. He said that in the old days Roy had been glad enough to share a steak with him in a shabby restaurant and spend a month’s holiday in a fisherman’s cottage at St. Ives. Smith said that Roy was a time server. He said he was a snob. He said he was a humbug.

Smith was wrong here. The most shining characteristic of Alroy Kear was his sincerity. No one can be a humbug for five-and-twenty years. Hypocrisy is the most difficult and nerve-racking vice that any man can pursue; it needs an unceasing vigilance and a rare detachment of spirit. It cannot, like adultery or gluttony, be practised at spare moments; it is a whole-time job. It needs also a cynical humour; although Roy laughed so much I never thought he had a very quick sense of humour, and I am quite sure that he was incapable of cynicism. Though I have finished few of his novels, I have begun a good many, and to my mind his sincerity is stamped on every one of their multitudinous pages. This is clearly the chief ground of his stable popularity. Roy has always sincerely believed what everyone else believed at the moment. When he wrote novels about the aristocracy he sincerely believed that its members were dissipated and immoral, and yet had a certain nobility and an innate aptitude for governing the British Empire; when later he wrote of the middle classes he sincerely believed that they were the backbone of the country. His villains have always been villainous, his heroes heroic, and his maidens chaste.

When Roy asked the author of a flattering review to lunch it was because he was sincerely grateful to him for his good opinion, and when he asked the author of an unflattering one it was because he was sincerely concerned to improve himself. When unknown admirers from Texas or western Australia came to London it was not only to cultivate his public that he took them to the National Gallery, it was because he was sincerely anxious to observe their reactions to art. You had only to hear him lecture to be convinced of his sincerity.

When he stood on the platform, in evening dress admirably worn, or in a loose, much used but perfectly cut, lounge suit if it better fitted the occasion, and faced his audience seriously, frankly, but with an engaging diffidence you could not but realize that he was giving himself up to his task with complete earnestness. Though now and then he pretended to be at a loss for a word, it was only to make it more effective when he uttered it. His voice was full and manly. He told a story well. He was never dull. He was fond of lecturing upon the younger writers of England and America, and he explained their merits to his audience with an enthusiasm that attested his generosity. Perhaps he told almost too much, for when you had heard his lecture you felt that you really knew all you wanted to about them and it was quite unnecessary to read their books. I suppose that is why when Roy had lectured in some provincial town not a single copy of the books of the authors he had spoken of was ever asked for, but there was always a run on his own. His energy was prodigious. Not only did he make successful tours of the United States, but he lectured up and down Great Britain. No club was so small, no society for the self-improvement of its members so insignificant, that Roy disdained to give it an hour of his time. Now and then he revised his lectures and issued them in neat little books. Most people who are interested in these things have at least looked through the works entitled Modern Novelists, Russian Fiction, and Some Writers; and few can deny that they exhibit a real feeling for literature and a charming personality.

But this by no means exhausted his activities. He was an active member of the organizations that have been founded to further the interests of authors or to alleviate their hard lot when sickness or old age has brought them