Complete Works of J. M. Barrie

by Unknown

  I have not described the appearance of my pouch, feeling that to be unnecessary. It never, I fear, quite recovered from its night in the rain, and as my female relatives refused to touch it, I had to sew it together now and then myself. Gilray used to boast of a way of mending a hole in a tobacco-pouch that was better than sewing. You put the two pieces of guttapercha close together and then cut them sharply with scissors. This makes them run together, he says, and I believed him until he experimented upon my pouch. However, I did not object to a hole here and there. Wherever I laid that pouch it left a small deposit of tobacco, and thus I could generally get together a pipeful at times when other persons would be destitute. I never told my sister that my pouch was once all but lost, but ever after that, when she complained that I had never even tried to do without it, I smiled tenderly.

  CHAPTER VI.

  MY SMOKING-TABLE.

  Had it not been for a bootblack at Charing Cross I should probably never have bought the smoking-table. I had to pass that boy every morning. In vain did I scowl at him, or pass with my head to the side. He always pointed derisively (as I thought) at my boots. Probably my boots were speckless, but that made no difference; he jeered and sneered. I have never hated any one as I loathed that boy, and to escape him I took to going round by the Lowther Arcade. It was here that my eye fell on the smoking-table. In the Lowther Arcade, if the attendants catch you looking at any article for a fraction of a second, it is done up in brown paper, you have paid your money, and they have taken down your address before you realize that you don’t want anything. In this way I became the owner of my smoking-table, and when I saw it in a brown-paper parcel on my return to my chambers I could not think what it was until I cut the strings. Such a little gem of a table no smokers should be without; and I am not ashamed to say that I was in love with mine as soon as I had fixed the pieces together. It was of walnut, and consisted mainly of a stalk and two round slabs not much bigger than dinner-plates. There were holes in the centre of these slabs for the stalk to go through, and the one slab stood two feet from the floor, the other a foot higher. The lower slab was fitted with a walnut tobacco-jar and a pipe-rack, while on the upper slab were exquisite little recesses for cigars, cigarettes, matches, and ashes. These held respectively three cigars, two cigarettes, and four wax vestas. The smoking-table was an ornament to any room; and the first night I had it I raised my eyes from my book to look at it every few minutes. I got all my pipes together and put them in the rack; I filled the jar with tobacco, the recesses with three cigars, two cigarettes, and four matches; and then I thought I would have a smoke. I swept my hand confidently along the mantelpiece, but it did not stop at a pipe. I rose and looked for a pipe. I had half a dozen, but not one was to be seen — none on the mantelpiece, none on the window-sill, none on the hearthrug, none being used as book-markers. I tugged at the bell till William John came in quaking, and then I asked him fiercely what he had done with my pipes. I was so obviously not to be trifled with that William John, as we called him, because some thought his name was William, while others thought it was John, very soon handed me my favorite pipe, which he found in the rack on the smoking-table. This incident illustrates one of the very few drawbacks of smoking-tables. Not being used to them, you forget about them. William John, however, took the greatest pride in the table, and whenever he saw a pipe lying on the rug he pounced upon it and placed it, like a prisoner, in the rack. He was also most particular about the three cigars, the two cigarettes, and the four wax vestas, keeping them carefully in the proper compartments, where, unfortunately, I seldom thought of looking for them.

  The fatal defect of the smoking-table, however, was that it was generally rolling about the floor — the stalk in one corner, the slabs here and there, the cigars on the rug to be trampled on, the lid of the tobacco-jar beneath a chair. Every morning William John had to put the table together. Sometimes I had knocked it over accidentally. I would fling a crumpled piece of paper into the wastepaper basket. It missed the basket but hit the smoking-table, which went down like a wooden soldier. When my fire went out, just because I had taken my eyes off it for a moment, I called it names and flung the tongs at it. There was a crash — the smoking-table again. In time I might have remedied this; but there is one weakness which I could not stand in any smoking-table. A smoking-table ought to be so constructed that from where you are sitting you can stretch out your feet, twist them round the stalk, and so lift the table to the spot where it will be handiest. This my smoking-table would never do. The moment I had it in the air it wanted to stand on its head.

  Though I still admired smoking-tables as much as ever, I began to want very much to give this one away. The difficulty was not so much to know whom to give it to as how to tie it up. My brother was the very person, for I owed him a letter, and this, I thought, would do instead. For a month I meant to pack the table up and send it to him; but I always put off doing it, and at last I thought the best plan would be to give it to Scrymgeour, who liked elegant furniture. As a smoker, Scrymgeour seemed the very man to appreciate a pretty, useful little table. Besides, all I had to do was to send William John down with it. Scrymgeour was out at the time; but we left it at the side of his fireplace as a pleasant surprise. Next morning, to my indignation, it was back at the side of my fireplace, and in the evening Scrymgeour came and upbraided me for trying, as he most unworthily expressed it, “to palm the thing off on him.” He was no sooner gone than I took the table to pieces to send it to my brother. I tied the stalk up in brown paper, meaning to get a box for the other parts. William John sent off the stalk, and for some days the other pieces littered the floor. My brother wrote me saying he had received something from me, for which his best thanks; but would I tell him what it was, as it puzzled everybody? This was his impatient way; but I made an effort, and sent off the other pieces to him in a hat-box.

  That was a year ago, and since then I have only heard the history of the smoking-table in fragments. My brother liked it immensely; but he thought it was too luxurious for a married man, so he sent it to Reynolds, in Edinburgh. Not knowing Reynolds, I cannot say what his opinion was; but soon afterward I heard of its being in the possession of Grayson, who was charmed with it, but gave it to Pelle, because it was hardly in its place in a bachelor’s establishment. Later a town man sent it to a country gentleman as just the thing for the country; and it was afterward in Liverpool as the very thing for a town. There I thought it was lost, so far as I was concerned. One day, however, Boyd, a friend of mine who lives in Glasgow, came to me for a week, and about six hours afterward he said that he had a present for me. He brought it into my sitting-room — a bulky parcel — and while he was undoing the cords he told me it was something quite novel; he had bought it in Glasgow the day before. When I saw a walnut leg I started; in another two minutes I was trying to thank Boyd for my own smoking-table. I recognized it by the dents. I was too much the gentleman to insist on an explanation from Boyd; but, though it seems a harsh thing to say, my opinion is that these different persons gave the table away because they wanted to get rid of it. William John has it now.

  CHAPTER VII.

  GILRAY.

  Gilray is an actor, whose life I may be said to have strangely influenced, for it was I who brought him and the Arcadia Mixture together. After that his coming to live on our stair was only a matter of rooms being vacant.

  We met first in the Merediths’ houseboat, the Tawny Owl, which was then lying at Molesey. Gilray, as I soon saw, was a man trying to be miserable, and finding it the hardest task in life. It is strange that the philosophers have never hit upon this profound truth. No man ever tried harder to be unhappy than Gilray; but the luck was against him, and he was always forgetting himself. Mark Tapley succeeded in being jolly in adverse circumstances; Gilray failed, on the whole, in being miserable in a delightful houseboat. It is, however, so much more difficult to keep up misery than jollity that I like to think of his attempt as what the dramatic critics call a succès d’est
ime.

  The Tawny Owl lay on the far side of the island. There were ladies in it; and Gilray’s misery was meant to date from the moment when he asked one of them a question, and she said “No.” Gilray was strangely unlucky during the whole of his time on board. His evil genius was there, though there was very little room for him, and played sad pranks. Up to the time of his asking the question referred to, Gilray meant to create a pleasant impression by being jolly, and he only succeeded in being as depressing as Jaques. Afterward he was to be unutterably miserable; and it was all he could do to keep himself at times from whirling about in waltz tune. But then the nearest boat had a piano on board, and some one was constantly playing dance music. Gilray had an idea that it would have been the proper thing to leave Molesey when she said “No;” and he would have done so had not the barbel-fishing been so good. The barbel-fishing was altogether unfortunate — at least Gilray’s passion for it was. I have thought — and so sometimes has Gilray — that if it had not been for a barbel she might not have said “No.” He was fishing from the houseboat when he asked the question. You know how you fish from a houseboat. The line is flung into the water and the rod laid down on deck. You keep an eye on it. Barbel-fishing, in fact, reminds one of the independent sort of man who is quite willing to play host to you, but wishes you clearly to understand at the same time that he can do without you. “Glad to see you with us if you have nothing better to do; but please yourself,” is what he says to his friends. This is also the form of invitation to barbel. Now it happened that she and Gilray were left alone in the houseboat. It was evening; some Chinese lanterns had been lighted, and Gilray, though you would not think it to look at him, is romantic. He cast his line, and, turning to his companion, asked her the question. From what he has told me he asked it very properly, and all seemed to be going well. She turned away her head (which is said not to be a bad sign) and had begun to reply, when a woful thing happened. The line stiffened, and there was a whirl of the reel. Who can withstand that music? You can ask a question at any time, but, even at Molesey, barbel are only to be got now and then. Gilray rushed to his rod and began playing the fish. He called to his companion to get the landing-net. She did so; and after playing his barbel for ten minutes Gilray landed it. Then he turned to her again, and she said, “No.”

  Gilray sees now that he made a mistake in not departing that night by the last train. He overestimated his strength. However, we had something to do with his staying on, and he persuaded himself that he remained just to show her that she had ruined his life. Once, I believe, he repeated his question; but in reply she only asked him if he had caught any more barbel. Considering the surprisingly fine weather, the barbel-fishing, and the piano on the other boat, Gilray was perhaps as miserable as could reasonably have been expected. Where he ought to have scored best, however, he was most unlucky. She had a hammock swung between two trees, close to the boat, and there she lay, holding a novel in her hand. From the hammock she had a fine view of the deck, and this was Gilray’s chance. As soon as he saw her comfortably settled, he pulled a long face and climbed on deck. There he walked up and down, trying to look the image of despair. When she made some remark to him, his plan was to show that, though he answered cordially, his cheerfulness was the result of a terrible inward struggle. He did contrive to accomplish this if he was waiting for her observation; but she sometimes took him unawares, starting a subject in which he was interested. Then, forgetting his character, he would talk eagerly or jest with her across the strip of water, until with a start he remembered what he had become. He would seek to recover himself after that; but of course it was too late to create a really lasting impression. Even when she left him alone, watching him, I fear, over the top of her novel, he disappointed himself. For five minutes or so everything would go well; he looked as dejected as possible; but as he fell he was succeeding he became so self-satisfied that he began to strut. A pleased expression crossed his face, and instead of allowing his head to hang dismally, he put it well back. Sometimes, when we wanted to please him, we said he looked as glum as a mute at a funeral. Even that, however, defeated his object, for it flattered him so much that he smiled with gratification.

  Gilray made one great sacrifice by giving up smoking, though not indeed such a sacrifice as mine, for up to this time he did not know the Arcadia Mixture. Perhaps the only time he really did look as miserable as he wished was

  late at night when we men sat up for a second last pipe before turning in. He looked wistfully at us from a corner. Yet as She had gone to rest, cruel fate made this of little account. His gloomy face saddened us too, and we tried to entice him to shame by promising not to mention it to the ladies. He almost yielded, and showed us that while we smoked he had been holding his empty brier in his right hand. For a moment he hesitated, then said fiercely that he did not care for smoking. Next night he was shown a novel, the hero of which had been “refused.” Though the lady’s hardheartedness had a terrible effect on this fine fellow, he “strode away blowing great clouds into the air.” “Standing there smoking in the moonlight,” the authoress says in her next chapter, “De Courcy was a strangely romantic figure. He looked like a man who had done everything, who had been through the furnace and had not come out of it unscathed.” This was precisely what Gilray wanted to look like. Again he hesitated, and then put his pipe in his pocket.

  It was now that I approached him with the Arcadia Mixture. I seldom recommend the Arcadia to men whom I do not know intimately, lest in the afteryears I should find them unworthy of it. But just as Aladdin doubtless rubbed his lamp at times for show, there were occasions when I was ostentatiously liberal. If, after trying the Arcadia, the lucky smoker to whom I presented it did not start or seize my hand, or otherwise show that something exquisite had come into his life, I at once forgot his name and his existence. I approached Gilray, then, and without a word handed him my pouch, while the others drew nearer. Nothing was to be heard but the water oozing out and in beneath the houseboat. Gilray pushed the tobacco from him, as he might have pushed a bag of diamonds that he mistook for pebbles. I placed it against his arm, and motioned to the others not to look. Then I sat down beside Gilray, and almost smoked into his eyes. Soon the aroma reached him, and rapture struggled into his face. Slowly his fingers fastened on the pouch. He filled his pipe without knowing what he was doing, and I handed him a lighted spill. He took perhaps three puffs, and then gave me a look of reverence that I know well. It only comes to a man once in all its glory — the first time he tries the Arcadia Mixture — but it never altogether leaves him.

  “Where do you get it?” Gilray whispered, in hoarse delight.

  The Arcadia had him for its own.

  CHAPTER VIII.

  MARRIOT.

  I have hinted that Marriot was our sentimental member. He was seldom sentimental until after midnight, and then only when he and I were alone. Why he should have chosen me as the pail into which to pour his troubles I cannot say. I let him talk on, and when he had ended I showed him plainly that I had been thinking most of the time about something else. Whether Marriot was entirely a humbug or the most conscientious person on our stair, readers may decide. He was fond of argument if you did not answer him, and often wanted me to tell him if I thought he was in love; if so, why did I think so; if not, why not. What makes me on reflection fancy that he was sincere is that in his statements he would let his pipe go out.

  Of course I cannot give his words, but he would wait till all my other guests had gone, then softly lock the door, and returning to the cane chair empty himself in some such way as this:

  “I have something I want to talk to you about. Pass me a spill. Well, it is this. Before I came to your rooms tonight I was cleaning my pipe, when all at once it struck me that I might be in love. This is the kind of shock that pulls a man up and together. My first thought was, if it be love, well and good; I shall go on. As a gentleman I know my duty both to her and to myself. At present, however, I am not certain which she
is. In love there are no degrees; of that at least I feel positive. It is a tempestuous, surging passion, or it is nothing. The question for me, therefore, is, Is this the beginning of a tempestuous, surging passion? But stop; does such a passion have a beginning? Should it not be in flood before we know what we are about? I don’t want you to answer.

  “One of my difficulties is that I cannot reason from experience. I cannot say to myself, During the spring of 1886, and again in October, 1888, your breast has known the insurgence of a tempestuous passion. Do you now note the same symptoms? Have you experienced a sudden sinking at the heart, followed by thrills of exultation? Now I cannot even say that my appetite has fallen off, but I am smoking more than ever, and it is notorious that I experience sudden chills and thrills. Is this passion? No, I am not done; I have only begun.

  “In ‘As You Like It,’ you remember, the love symptoms are described at length. But is Rosalind to be taken seriously? Besides, though she wore boy’s clothes, she had only the woman’s point of view. I have consulted Stevenson’s chapters on love in his delightful ‘Virginibus Puerisque,’ and one of them says, ‘Certainly, if I could help it, I would never marry a wife who wrote.’ Then I noticed a book published after that one, and entitled ‘The New Arabian Nights, by Mr. and Mrs. Robert Louis Stevenson.’ I shut ‘Virginibus Puerisque’ with a sigh, and put it away.

  “But this inquiry need not, I feel confident, lead to nothing. Negatively I know love; for I do not require to be told what it is not, and I have my ideal. Putting my knowledge together and surveying it dispassionately in the mass, I am inclined to think that this is really love.