Delphi Complete Works of William Dean Howells

by William Dean Howells

  “The glory that was Greece

  And the grandeur that was Rome,”

  starved amidst the robust plenty of the Englishman’s criticisms of our early manners and customs. Neither could money hire the boy to read “Malte-Brun’s Geography,” in three large folios, of a thousand pages each, for which there was a standing offer of fifty cents from the father, who had never been able to read it himself. But shortly after he failed so miserably with Captain Ashe, the boy came into possession of a priceless treasure. It was that little treatise on “Greek and Roman Mythology” which I have mentioned, and which he must literally have worn out with reading, since no fragment of it seems to have survived his boyhood. Heaven knows who wrote it or published it; his father bought it with a number of other books at an auction, and the boy, who had about that time discovered the chapter on prosody in the back part of his grammar, made poems from it for years, and appeared in many transfigurations, as this and that god and demigod and hero upon imagined occasions in the Boy’s Town, to the fancied admiration of all the other fellows. I do not know just why he wished to appear to his grandmother in a vision; now as Mercury with winged feet, now as Apollo with his drawn bow, now as Hercules leaning upon his club and resting from his Twelve Labors. Perhaps it was because he thought that his grandmother, who used to tell the children about her life in Wales, and show them the picture of a castle where she had once slept when she was a girl, would appreciate him in these apotheoses. If he believed they would make a vivid impression upon the sweet old Quaker lady, no doubt he was right.

  There was another book which he read about this time, and that was “The Greek Soldier.” It was the story of a young Greek, a glorious Athenian, who had fought through the Greek war of independence against the Turks, and then come to America and published the narrative of his adventures. They fired my boy with a retrospective longing to have been present at the Battle of Navarino, when the allied ships of the English, French, and Russians destroyed the Turkish fleet; but it seemed to him that he could not have borne to have the allies impose a king upon the Greeks, when they really wanted a republic, and so he was able to console himself for having been absent. He did what he could in fighting the war over again, and he intended to harden himself for the long struggle by sleeping on the floor, as the Greek soldier had done. But the children often fell asleep on the floor in the warmth of the hearth-fire; and his preparation for the patriotic strife was not distinguishable in its practical effect from a reluctance to go to bed at the right hour.

  Captain Riley’s narrative of his shipwreck on the coast of Africa, and his captivity among the Arabs, was a book which my boy and his brother prized with a kind of personal interest, because their father told them that he had once seen a son of Captain Riley when he went to get his appointment of collector at Columbus, and that this son was named William Willshire Riley, after the good English merchant, William Willshire, who had ransomed Captain Riley. William Willshire seemed to them almost the best man who ever lived; though my boy had secretly a greater fondness for the Arab, Sidi Hamet, who was kind to Captain Riley and kept his brother Seid from ill-treating him whenever he could. Probably the boy liked him better because the Arab was more picturesque than the Englishman. The whole narrative was very interesting; it had a vein of sincere and earnest piety in it which was not its least charm, and it was written in a style of old-fashioned stateliness which was not without its effect with the boys.

  Somehow they did not think of the Arabs in this narrative as of the same race and faith with the Arabs of Bagdad and the other places in the “Arabian Nights.” They did not think whether these were Mohammedans or not; they naturalized them in the fairy world where all boys are citizens, and lived with them there upon the same familiar terms as they lived with Robinson Crusoe. Their father once told them that Robinson Crusoe had robbed the real narrative of Alexander Selkirk of the place it ought to have held in the remembrance of the world; and my boy had a feeling of guilt in reading it, as if he were making himself the accomplice of an impostor. He liked the “Arabian Nights,” but oddly enough these wonderful tales made no such impression on his fancy as the stories in a wretchedly inferior book made. He did not know the name of this book, or who wrote it; from which I imagine that much of his reading was of the purblind sort that ignorant grown-up people do, without any sort of literary vision. He read this book perpetually, when he was not reading his “Greek and Roman Mythology;” and then suddenly, one day, as happens in childhood with so many things, it vanished out of his possession as if by magic. Perhaps he lost it; perhaps he lent it; at any rate it was gone, and he never got it back, and he never knew what book it was till thirty years afterwards, when he picked up from a friend’s library-table a copy of “Gesta Romanorum,” and recognized in this collection of old monkish legends the long-missing treasure of his boyhood. These stories, without beauty of invention, without art of construction or character, without spirituality in their crude materialization, which were read aloud in the refectories of mediæval cloisters while the monks sat at meat, laid a spell upon the soul of the boy that governed his life. He conformed his conduct to the principles and maxims which actuated the behavior of the shadowy people of these dry-as-dust tales; he went about drunk with the fumes of fables about Roman emperors that never were, in an empire that never was; and, though they tormented him by putting a mixed and impossible civilization in the place of that he knew from his Goldsmith, he was quite helpless to break from their influence. He was always expecting some wonderful thing to happen to him as things happened there in fulfilment of some saying or prophecy; and at every trivial moment he made sayings and prophecies for himself, which he wished events to fulfil. One Sunday when he was walking in an alley behind one of the stores, he found a fur cap that had probably fallen out of the store-loft window. He ran home with it, and in his simple-hearted rapture he told his mother that as soon as he picked it up there came into his mind the words, “He who picketh up this cap picketh up a fortune,” and he could hardly wait for Monday to come and let him restore the cap to its owner and receive an enduring prosperity in reward of his virtue. Heaven knows what form he expected this to take; but when he found himself in the store, he lost all courage; his tongue clove to the roof of his mouth, and he could not utter a syllable of the fine phrases he had made to himself. He laid the cap on the counter without a word; the storekeeper came up and took it in his hand. “What’s this?” he said. “Why, this is ours,” and he tossed the cap into a loose pile of hats by the showcase, and the boy slunk out, cut to the heart and crushed to the dust. It was such a cruel disappointment and mortification that it was rather a relief to have his brother mock him, and come up and say from time to time, “He who picketh up this cap picketh up a fortune,” and then split into a jeering laugh. At least he could fight his brother, and, when he ran, could stone him; and he could throw quads and quoins, and pieces of riglet at the jour printers when the story spread to them, and one of them would begin, “He who picketh—”

  He was not different from other boys in his desire to localize, to realize, what he read; and he was always contriving in fancy scenes and encounters of the greatest splendor, in which he bore a chief part. Inwardly he was all thrones, principalities, and powers, the foe of tyrants, the friend of good emperors, and the intimate of magicians, and magnificently apparelled; outwardly he was an incorrigible little sloven, who suffered in all social exigencies from the direst bashfulness, and wished nothing so much as to shrink out of the sight of men if they spoke to him. He could not help revealing sometimes to the kindness of his father and mother the world of foolish dreams one half of him lived in, while the other half swam, and fished, and hunted, and ran races, and played tops and marbles, and squabbled and scuffled in the Boy’s Town. Very likely they sympathized with him more than they let him know; they encouraged his reading, and the father directed his taste as far as might be, especially in poetry. The boy liked to make poetry, but he preferred to read prose, thou
gh he listened to the poems his father read aloud, so as to learn how they were made. He learned certain pieces by heart, like “The Turk lay dreaming of the hour,” and “Pity the sorrows of a poor old man,” and he was fond of some passages that his father wished him to know in Thomson’s “Seasons.” There were some of Moore’s songs, too, that he was fond of, such as “When in death I shall calm recline,” and “It was noon and on flowers that ranged all around.” He learned these by heart, to declaim at school, where he spoke, “On the banks of the Danube fair Adelaide hied,” from Campbell; but he could hardly speak the “Soldier’s Dream” for the lump that came into his throat at the lines,

  “My little ones kissed me a thousand times o’er,

  And my wife sobbed aloud in her fulness of heart.

  “‘Stay, stay with us! Stay! Thou art weary and worn!’

  And fain was their war-broken soldier to stay;

  But sorrow returned at the dawning of morn,

  And the voice in my dreaming ear melted away!”

  He was himself both the war-broken soldier and the little ones that kissed him, in the rapture of this now old-fashioned music, and he woke with pangs of heartbreak in the very person of the dreamer.

  But he could not make anything either of Byron or Cowper; and he did not even try to read the little tree-calf volumes of Homer and Virgil which his father had in the versions of Pope and Dryden; the small copperplates with which they were illustrated conveyed no suggestion to him. Afterwards he read Goldsmith’s “Deserted Village,” and he formed a great passion for Pope’s “Pastorals,” which he imitated in their easy heroics; but till he came to read Longfellow, and Tennyson, and Heine, he never read any long poem without more fatigue than pleasure. His father used to say that the taste for poetry was an acquired taste, like the taste for tomatoes, and that he would come to it yet; but he never came to it, or so much of it as some people seemed to do, and he always had his sorrowful misgivings as to whether they liked it as much as they pretended. I think, too, that it should be a flavor, a spice, a sweet, a delicate relish in the high banquet of literature, and never a chief dish; and I should not know how to defend my boy for trying to make long poems of his own at the very time when he found it so hard to read other people’s long poems.

  He had no conception of authorship as a vocation in life, and he did not know why he wanted to make poetry. After first flaunting his skill in it before the boys, and getting one of them into trouble by writing a love-letter for him to a girl at school, and making the girl cry at a thing so strange and puzzling as a love-letter in rhyme, he preferred to conceal his gift. It became

  “His shame in crowds — his solitary pride,”

  and he learned to know that it was considered soft to write poetry, as indeed it mostly is. He himself regarded with contempt a young man who had printed a piece of poetry in his father’s newspaper and put his own name to it. He did not know what he would not have done sooner than print poetry and put his name to it; and he was melted with confusion when a girl who was going to have a party came to him at the printing-office and asked him to make her the invitations in verse. The printers laughed, and it seemed to the boy that he could never get over it.

  But such disgraces are soon lived down, even at ten years, and a great new experience which now came to him possibly helped the boy to forget. This was the theatre, which he had sometimes heard his father speak of. There had once been a theatre in the Boy’s Town, when a strolling company came up from Cincinnati, and opened for a season in an empty pork-house. But that was a long time ago, and, though he had written a tragedy, all that the boy knew of a theatre was from a picture in a Sunday-school book where a stage scene was given to show what kind of desperate amusements a person might come to in middle life if he began by breaking the Sabbath in his youth. His brother had once been taken to a theatre in Pittsburgh by one of their river-going uncles, and he often told about it; but my boy formed no conception of the beautiful reality from his accounts of a burglar who jumped from a roof and was chased by a watchman with a pistol up and down a street with houses painted on a curtain.

  “THE BEACON OF DEATH.”

  The company which came to the Boy’s Town in his time was again from Cincinnati, and it was under the management of the father and mother of two actresses, afterwards famous, who were then children, just starting upon their career. These pretty little creatures took the leading parts in “Bombastes Furioso,” the first night my boy ever saw a play, and he instantly fell impartially in love with both of them, and tacitly remained their abject slave for a great while after. When the smaller of them came out with a large pair of stage boots in one hand and a drawn sword in the other, and said,

  “Whoever dares these boots displace

  Shall meet Bombastes face to face,”

  if the boy had not already been bereft of his senses by the melodrama preceding the burlesque, he must have been transported by her beauty, her grace, her genius. He, indeed, gave her and her sister his heart, but his mind was already gone, rapt from him by the adorable pirate who fought a losing fight with broadswords, two up and two down — click-click, click-click — and died all over the deck of the pirate ship in the opening piece. This was called the “Beacon of Death,” and the scene represented the forecastle of the pirate ship with a lantern dangling from the rigging, to lure unsuspecting merchantmen to their doom. Afterwards, the boy remembered nothing of the story, but a scrap of the dialogue meaninglessly remained with him; and when the pirate captain appeared with his bloody crew and said, hoarsely, “Let us go below and get some brandy!” the boy would have bartered all his hopes of bliss to have been that abandoned ruffian. In fact, he always liked, and longed to be, the villain, rather than any other person in the play, and he so glutted himself with crime of every sort in his tender years at the theatre that he afterwards came to be very tired of it, and avoided the plays and novels that had very marked villains in them.

  He was in an ecstasy as soon as the curtain rose that night, and he lived somewhere out of his body as long as the playing lasted, which was well on to midnight; for in those days the theatre did not meanly put the public off with one play, but gave it a heartful and its money’s worth with three. On his first night my boy saw “The Beacon of Death,” “Bombastes Furioso,” and “Black-eyed Susan,” and he never afterwards saw less than three plays each night, and he never missed a night, as long as the theatre languished in the unfriendly air of that mainly Calvinistic community, where the theatre was regarded by most good people as the eighth of the seven deadly sins. The whole day long he dwelt in a dream of it that blotted out, or rather consumed with more effulgent brightness, all the other day-dreams he had dreamed before, and his heart almost burst with longing to be a villain like those villains on the stage, to have a moustache — a black moustache — such as they wore at a time when every one off the stage was clean shaven, and somehow to end bloodily, murderously, as became a villain.

  I dare say this was not quite a wholesome frame of mind for a boy of ten years; but I do not defend it; I only portray it. Being the boy he was, he was destined somehow to dwell half the time in a world of dreamery; and I have tried to express how, when he had once got enough of villainy, he reformed his ideals and rather liked virtue. At any rate, it was a phase of being that could not have been prevented without literally destroying him, and I feel pretty sure that his father did well to let him have his fill of the theatre at once. He could not have known of the riot of emotions behind the child’s shy silence, or how continually he was employed in dealing death to all the good people in the pieces he saw or imagined. This the boy could no more have suffered to appear than his passion for those lovely little girls, for whose sake he somehow perpetrated these wicked deeds. The theatre bills, large and small, were printed in his father’s office, and sometimes the amiable manager and his wife strolled in with the copy. The boy always wildly hoped and feared they would bring the little girls with them, but they never did, and he co
ntented himself with secretly adoring the father and mother, doubly divine as their parents and as actors. They were on easy terms with the roller-boy, the wretch who shot turtle-doves with no regard for their symbolical character, and they joked with him, in a light give-and-take that smote my boy with an anguish of envy. It would have been richly enough for him to pass the least word with them; a look, a smile from them would have been bliss; but he shrank out of their way; and once when he met them in the street, and they seemed to be going to speak to him, he ran so that they could not.