Hadrian the Seventh

pens, penknife, scissors, a lamp, a biscuit-tin of cigarette-dottels, sixteen exquisite Greek intaglj. On the lower shelf stood a row of books-of-reference. Between the washstand and the fire was the chair whereon Flavio slumbered, (if one may use so indelicate a word of so delicate a cat). About four feet of wall extended on the right of the fireplace. Pinned there were a pencil design for a Diamastigosis, a black and white panel of young Sophokles as Choregos after Salamis done on the back of an Admiralty chart, a water colour of Tarquinio Santacroce and Alexander VI, a pair of foils and fencing masks, and a curious Greco-Italian seal showing St. George as a wing-footed Perseys wearing what looked like the Garter Mantle and labelled φυλαξ ἀρχηϛ. Substitutes for shelves stood against the lower part of the wall. A rush-basket, closed and full of letters, set up on end, supported files of the American Saturday Review, the Author, the Outlook, the Salpinx, Reynards’s, and the Pall Mall Gazette, and a feather broom for dusting books and papers or for correcting Flavio when obstreperous. Another rush-basket, placed lengthwise on a bedroom chair, held a row of books, MS. notebooks, duodecimo classics of Plantin, Estienne, Maittaire, with English and American editions of the writer’s own works. The third wall was pierced by two small windows, wide open to the full always. A chest of drawers protruded endways into the room. Its top was used as a standing desk. The drawers opened towards the fourth wall. Sheaves of letters in metal clips hung at the end. Between it and the armchair, more shelves were contrived of rush-baskets placed beneath and upon a small wooden table. Books-of-reference, lexicons, and a box of blank paper, congregated here convenient to the writer’s hand. The little table drawer contained notepaper, envelopes, sealing-wax, and stamps. The whole was arranged so that, when once ensconced in the armchair before the fire with his writing-board on his knees, the digladiator could reach all his weapons by a simple extension of his arms. The attic was eleven feet square, low-pitched, and with half the ceiling slanting to the fourth foot from the floor on the fourth wall. Here was a camp-bed, a small mirror, and a towel-rail, three pairs of two- six- and ten-pound dumbbells, a pair of boots on trees, a bottle of eucalyptus and a spray-producer.

His eyes, as they wandered round the room, met these things. He took a towel, and went downstairs to the bathroom to wash his hands. On returning he enticed Flavio with a bit of string. The cat was unwilling to play: gazed at him with innocent imperscrutable round eyes: elaborately yawned and requested permission to retire. The odour of the kitchen-dinner was perceptible. The door was opened; and shut.

He put the butt of his cigarette in an earthenware jar on his left for future use. The maid appeared with his lunch, a basinful of bread and milk. Following some subconscious train of thought, he stretched himself, took the little mirror from the wall and went to the window.

“It’s one of your bad days, my friend,” he commented, regarding his own image. “You look all your age, and twelve years more. Draw down those feathered brows, man. Never mind the upright furrow which makes you look stern. Draw them down; and open your eyes; and look alert. Do something to counteract the tender thin line of that mouth. You mustn’t let yourself relax like this. It brings out your wrinkles, and shows the sparseness of your hair. If you had an inch more thigh, and say a couple of inches more shin, you might look people down a little more: but with that meek subservient aspect⁠—how Luckock used to chaff about it!⁠—no wonder everyone takes advantage of you. What’s the good of having your fastidious mind clearly written on that fastidious mouth if you don’t insist on behaving fastidiously. Cultivate the art of looking as though you were about to say No. You always can say Yes after No. But, if you begin with Yes, as you always do, you prevent yourself from ever saying No. That’s why everyone can swindle you. You’re far too anxious to give way. Buck up a bit, you ugly little thing! Ugly as you are, you’re neither vulgar nor commonplace. Straighten your back, and open your eyes wide, and pull yourself together.”

He put the mirror in its place; and again cast a glance round the room, seeking something to read, something, anything, that was not too recent in his mind. He picked up at random one of the rejected novels. It was called Donovan. He remembered having seen (in an ex-tea-pedlar’s magazine) a print of the writer thereof. He also remembered that he had found her self-conscious pose and labial conformation intensely antipathetic. His sense of beauty was a great deal more than acute. Let his predilection (which was for reticent expert virtue in the male and for innate delicate modesty in the female) once be satisfied, and the door to his favour lay open.

“However,” he argued with himself, “she sells her books by tens of thousands while we don’t sell ours by tens of hundreds. We’ll have a look at her work, and see how she does it.”

He ate his bread and milk; and seriously and deliberately set himself to dissect and analyse the book.

The manner of the portrayal of a youth, of an abnormal type of youth, the Sentient-Modest type, at once disgusted him by its inadequacy and superficiality. The male human animal is omnipresent: it is not difficult for an observant and careful writer to describe the γνωριμωτερον φυσει, things as they appear. But the author’s sex had prevented her from knowing, and therefore, from describing the γνωριμωτερον ἡμιν, things as they are. It is doubtful whether Man ever mentally knew Woman. It is certain that Woman never knew Man: except