A Great Man by Arnold Bennett (good books to read for beginners TXT) 📖

'You'll give the show away, you fool!'

'No, I shan't, Clemmy, my boy,' said Mr. Heeley judicially. 'They'll stand simply anything. I bet you what you like Onions Winter quotes that all over the place.'

And he handed the last sheet of the review to a messenger, and ran off to the editorial room to report that instructions had been executed. Jack and Clementina relighted their pipes with select bits of _A Question of Cubits_, and threw the remaining debris of the volume into the waste-paper basket. The hour was twenty minutes past midnight....

The great majority of the reviews were exceedingly favourable, and even where praise was diluted with blame, the blame was administered with respect, as a dentist might respectfully pain a prince in pulling his tooth out. The public had voted for Henry, and the press, organ of public opinion, displayed a wise discretion. The daring freshness of Henry's plot, his inventive power, his skill in 'creating atmosphere,' his gift for pathos, his unfailing wholesomeness, and his knack in the management of narrative, were noted and eulogized in dozens of articles. Nearly every reviewer prophesied brilliant success for him; several admitted frankly that his equipment revealed genius of the first rank. A mere handful of papers scorned him. Prominent among this handful was the _Whitehall Gazette_. The distinguished mouthpiece of the superior classes dealt with _A Question of Cubits_ at the foot of a column, in a brief paragraph headed 'Our Worst Fears realized.' The paragraph, which was nothing but a summary of the plot, concluded in these terms: 'So he expired, every inch of him, in the snow, a victim to the British Public's rapacious appetite for the sentimental.'

The rudeness of the _Whitehall Gazette_, however, did nothing whatever to impair the wondrous vogue which Henry now began to enjoy. His first boom had been great, but it was a trifle compared to his second. The title of the new book became a catchword. When a little man was seen walking with a tall woman, people exclaimed: 'It's a question of cubits.' When the recruiting regulations of the British army were relaxed, people also exclaimed: 'It's a question of cubits.' During a famous royal procession, sightseers trying to see the sight over the heads of a crowd five deep shouted to each other all along the route: 'It's a question of cubits.' Exceptionally tall men were nicknamed 'Gerald' by their friends. Henry's Gerald, by the way, had died as doorkeeper at a restaurant called the Trianon. The Trianon was at once recognised as the Louvre, and the tall commissionaire at the Louvre thereby trebled his former renown. 'Not dead in the snow yet?' the wits of the West End would greet him on descending from their hansoms, and he would reply, infinitely gratified: 'No, sir. No snow, sir.' A music-hall star of no mean eminence sang a song with the refrain:


'You may think what you like,
You may say what you like,
It was simply a question of cubits.'


The lyric related the history of a new suit of clothes that was worn by everyone except the person who had ordered it.

Those benefactors of humanity, the leading advertisers, used 'A Question of Cubits' for their own exalted ends. A firm of manufacturers of high-heeled shoes played with it for a month in various forms. The proprietors of an unrivalled cheap cigarette disbursed thousands of pounds in order to familiarize the public with certain facts. As thus: 'A Question of Cubits. Every hour of every day we sell as many cigarettes as, if placed on end one on the top of the other, would make a column as lofty as the Eiffel Tower. Owing to the fact that cigarettes are not once mentioned in _A Question of Cubits_, we regret to say that the author has not authorized us to assert that he was thinking of our cigarettes when he wrote Chapter VII. of that popular novel.'

Editors and publishers cried in vain for Henry. They could get from him neither interviews, short stories, nor novels. They could only get polite references to Mark Snyder. And Mark Snyder had made his unalterable plans for the exploitation of this most wonderful racehorse that he had ever trained for the Fame Stakes. The supply of chatty paragraphs concerning the hero and the book of the day would have utterly failed had not Mr. Onions Winter courageously come to the rescue and allowed himself to be interviewed. And even then respectable journals were reduced to this sort of paragraph: 'Apropos of Mr. Knight's phenomenal book, it may not be generally known what the exact measure of a cubit is. There have been three different cubits--the Scriptural, the Roman, and the English. Of these, the first-named,' etc.

So the thing ran on.

And at the back of it all, supporting it all, was the steady and prodigious sale of the book, the genuine enthusiasm for it of the average sensible, healthy-minded woman and man.

Finally, the information leaked out that Macalistairs had made august and successful overtures for the reception of Henry into their fold. Sir Hugh Macalistair, the head of the firm, was (at that time) the only publisher who had ever been knighted. And the history of Macalistairs was the history of all that was greatest and purest in English literature during the nineteenth century. Without Macalistairs, English literature since Scott would have been nowhere. Henry was to write a long novel in due course, and Macalistairs were to have the world's rights of the book, and were to use it as a serial in their venerable and lusty _Magazine_, and to pay Henry, on delivery of the manuscript, eight thousand pounds, of which six thousand was to count as in advance of royalties on the book.

Mr. Onions Winter was very angry at what he termed an ungrateful desertion. The unfortunate man died a year or two later of appendicitis, and his last words were that he, and he alone, had 'discovered' Henry.


CHAPTER XXI


PLAYING THE NEW GAME

When Henry had seceded from Powells, and had begun to devote several dignified hours a day to the excogitation of a theme for his new novel, and the triumph of _A Question of Cubits_ was at its height, he thought that there ought to be some change in his secret self to correspond with the change in his circumstances. But he could perceive none, except, perhaps, that now and then he was visited by the feeling that he had a great mission in the world. That feeling, however, came rarely, and, for the most part, he existed in a state of not being quite able to comprehend exactly how and why his stories roused the enthusiasm of an immense public.

In essentials he remained the same Henry, and the sameness of his simple self was never more apparent to him than when he got out of a cab one foggy Wednesday night in November, and rang at the Grecian portico of Mrs. Ashton Portway's house in Lowndes Square. A crimson cloth covered the footpath. This was his first entry into the truly great world, and though he was perfectly aware that as a lion he could not easily be surpassed in no matter what menagerie, his nervousness and timidity were so acute as to be painful; they annoyed him, in fact. When, in the wide hall, a servant respectfully but firmly closed the door after him, thus cutting off a possible retreat to the homely society of the cabman, he became resigned, careless, reckless, desperate, as who should say, 'Now I _have_ done it!' And as at the Louvre, so at Mrs. Ashton Portway's, his outer garments were taken forcibly from him, and a ticket given to him in exchange. The ticket startled him, especially as he saw no notice on the walls that the management would not be responsible for articles not deposited in the cloakroom. Nobody inquired about his identity, and without further ritual he was asked to ascend towards regions whence came the faint sound of music. At the top of the stairs a young and handsome man, faultless alike in costume and in manners, suavely accosted him.

'What name, sir?'

'Knight,' said Henry gruffly. The young man thought that Henry was on the point of losing his temper from some cause or causes unknown, whereas Henry was merely timid.

Then the music ceased, and was succeeded by violent chatter; the young man threw open a door, and announced in loud clear tones, which Henry deemed ridiculously loud and ridiculously clear:

'MR. KNIGHT!'

Henry saw a vast apartment full of women's shoulders and black patches of masculinity; the violent chatter died into a profound silence; every face was turned towards him. He nearly fell down dead on the doormat, and then, remembering that life was after all sweet, he plunged into the room as into the sea.

When he came up breathless and spluttering, Mrs. Ashton Portway (in black and silver) was introducing him to her husband, Mr. Ashton Portway, known to a small circle of readers as Raymond Quick, the author of several mild novels issued at his own expense. Mr. Portway was rich in money and in his wife; he had inherited the money, and his literary instincts had discovered the wife in a publisher's daughter. The union had not been blessed with children, which was fortunate, since Mrs. Portway was left free to devote the whole of her time to the encouragement of literary talent in the most unliterary of cities.

Henry rather liked Mr. Ashton Portway, whose small black eyes seemed to say: 'That's all right, my friend. I share your ideas fully. When you want a quiet whisky, come to me.'

'And what have you been doing this dark day?' Mrs. Ashton Portway began, with her snigger.

'Well,' said Henry, 'I dropped into the National Gallery this afternoon, but really it was so----'

'The National Gallery?' exclaimed Mrs. Ashton Portway swiftly. 'I must introduce you to Miss Marchrose, the author of that charming hand-book to _Pictures in London_. Miss Marchrose,' she called out, urging Henry towards a corner of the room, 'this is Mr. Knight.' She sniggered on the name. 'He's just dropped into the National Gallery.'

Then Mrs. Ashton Portway sailed off to receive other guests, and Henry was alone with Miss Marchrose in a nook between a cabinet and a phonograph. Many eyes were upon them. Miss Marchrose, a woman of thirty, with a thin face and an amorphous body draped in two shades of olive, was obviously flattered.

'Be frank, and admit you've never heard of me,' she said.

'Oh yes, I have,' he lied.

'Do you often go to the National Gallery, Mr. Knight?'

'Not as often as I ought.'

Pause.

Several observant women began to think that Miss Marchrose was not making the best of Henry--that, indeed, she had proved unworthy of an unmerited honour.

'I sometimes think----' Miss Marchrose essayed.

But a young lady got up in the middle of the room, and with extraordinary self-command and presence of mind began to recite Wordsworth's 'The Brothers.' She continued to recite and recite until she had finished it, and then sat down amid universal joy.

'Matthew Arnold said that was the greatest poem of the century,' remarked a man near the phonograph.

'You'll pardon me,' said Miss Marchrose, turning to him. 'If you are thinking of Matthew Arnold's introduction to the selected poems, you'll and----'

'My dear,' said Mrs. Ashton Portway, suddenly looming up opposite the reciter, 'what a memory you have!'

'Was it so long, then?' murmured a tall