Delphi Complete Works of Jerome K. Jerome (Illustrated) (Series Four) (446 page)
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Authors: Jerome K. Jerome
Yours was the best part in the play, Brother Merryman, had you and the audience but known it. But you dreamt of a showier part, where you loved and fought. I have heard you now and again, when you did not know I was near, shouting with sword in hand before your looking-glass. You had thrown your motley aside to don a dingy red coat; you were the hero of the play, you performed the gallant deeds, you made the noble speeches. I wonder what the play would be like, were we all to write our own parts. There would be no clowns, no singing chambermaids. We would all be playing lead in the centre of the stage, with the lime-light exclusively devoted to ourselves. Would it not be so?
What grand acting parts they are, these characters we write for ourselves alone in our dressing-rooms. We are always brave and noble — wicked sometimes, but if so, in a great, high-minded way; never in a mean or little way. What wondrous deeds we do, while the house looks on and marvels. Now we are soldiers, leading armies to victory. What if we die: it is in the hour of triumph, and a nation is left to mourn. Not in some forgotten skirmish do we ever fall; not for some “affair of outposts” do we give our blood, our very name unmentioned in the dispatches home. Now we are passionate lovers, well losing a world for love — a very different thing to being a laughter-provoking co-respondent in a sordid divorce case.
And the house is always crowded when we play. Our fine speeches always fall on sympathetic ears, our brave deeds are noted and applauded. It is so different in the real performance. So often we play our parts to empty benches, or if a thin house be present, they misunderstand, and laugh at the pathetic passages. And when our finest opportunity comes, the royal box, in which HE or SHE should be present to watch us, is vacant.
Poor little dolls, how seriously we take ourselves, not knowing the springs that stir our bosoms are but clockwork, not seeing the wires to which we dance. Poor little marionettes, shall we talk together, I wonder, when the lights of the booth are out?
We are little wax dollies with hearts. We are little tin soldiers with souls. Oh, King of many toys, are you merely playing with us? IS it only clockwork within us, this thing that throbs and aches? Have you wound us up but to let us run down? Will you wind us again to-morrow, or leave us here to rust? IS it only clockwork to which we respond and quiver? Now we laugh, now we cry, now we dance; our little arms go out to clasp one another, our little lips kiss, then say good-bye. We strive, and we strain, and we struggle. We reach now for gold, now for laurel. We call it desire and ambition: are they only wires that you play? Will you throw the clockwork aside, or use it again, O Master?
The lights of the booth grow dim. The springs are broken that kept our eyes awake. The wire that held us erect is snapped, and helpless we fall in a heap on the stage. Oh, brother and sister dollies we played beside, where are you? Why is it so dark and silent? Why are we being put into this black box? And hark! the little doll orchestra — how far away the music sounds! what is it they are playing: —
[Start of Gounod’s Funeral March of a Marionette]
TEA-TABLE TALK
CONTENTS
CHAPTER I
“They are very pretty, some of them,” said the Woman of the World; “not the sort of letters I should have written myself.”
“I should like to see a love-letter of yours,” interrupted the Minor Poet.
“It is very kind of you to say so,” replied the Woman of the World. “It never occurred to me that you would care for one.”
“It is what I have always maintained,” retorted the Minor Poet; “you have never really understood me.”
“I believe a volume of assorted love-letters would sell well,” said the Girton Girl; “written by the same hand, if you like, but to different correspondents at different periods. To the same person one is bound, more or less, to repeat oneself.”
“Or from different lovers to the same correspondent,” suggested the Philosopher. “It would be interesting to observe the response of various temperaments exposed to an unvaried influence. It would throw light on the vexed question whether the qualities that adorn our beloved are her own, or ours lent to her for the occasion. Would the same woman be addressed as ‘My Queen!’ by one correspondent, and as ‘Dear Popsy Wopsy!’ by another, or would she to all her lovers be herself?”
“You might try it,” I suggested to the Woman of the World, “selecting, of course, only the more interesting.”
“It would cause so much unpleasantness, don’t you think?” replied the Woman of the World. “Those I left out would never forgive me. It is always so with people you forget to invite to a funeral - they think it is done with deliberate intention to slight them.”
“The first love-letter I ever wrote,” said the Minor Poet, “was when I was sixteen. Her name was Monica; she was the left-hand girl in the third joint of the crocodile. I have never known a creature so ethereally beautiful. I wrote the letter and sealed it, but I could not make up my mind whether to slip it into her hand when we passed them, as we usually did on Thursday afternoons, or to wait for Sunday.”
“There can be no question,” murmured the Girton Girl abstractedly, “the best time is just as one is coming out of church. There is so much confusion; besides, one has one’s Prayer-book - I beg your pardon.”
“I was saved the trouble of deciding,” continued the Minor Poet. “On Thursday her place was occupied by a fat, red-headed girl, who replied to my look of inquiry with an idiotic laugh, and on Sunday I searched the Hypatia House pews for her in vain. I learnt subsequently that she had been sent home on the previous Wednesday, suddenly. It appeared that I was not the only one. I left the letter where I had placed it, at the bottom of my desk, and in course of time forgot it. Years later I fell in love really. I sat down to write her a love-letter that should imprison her as by some subtle spell. I would weave into it the love of all the ages. When I had finished it, I read it through and was pleased with it. Then by an accident, as I was going to seal it, I overturned my desk, and on to the floor fell that other love-letter I had written seven years before, when a boy. Out of idle curiosity I tore it open; I thought it would afford me amusement. I ended by posting it instead of the letter I had just completed. It carried precisely the same meaning; but it was better expressed, with greater sincerity, with more artistic simplicity.”
“After all,” said the Philosopher, “what can a man do more than tell a woman that he loves her? All the rest is mere picturesque amplification, on a par with the ‘Full and descriptive report from our Special Correspondent,’ elaborated out of a three-line telegram of Reuter’s.”
“Following that argument,” said the Minor Poet, “you could reduce ‘Romeo and Juliet’ to a two-line tragedy -
Lass and lad, loved like mad;
Silly muddle, very sad.”
“To be told that you are loved,” said the Girton Girl, “is only the beginning of the theorem - its proposition, so to speak.”
“Or the argument of the poem,” murmured the Old Maid.
“The interest,” continued the Girton Girl, “lies in proving it - why does he love me?”
“I asked a man that once,” said the Woman of the World. “He said it was because he couldn’t help it. It seemed such a foolish answer - the sort of thing your housemaid always tells you when she breaks your favourite teapot. And yet, I suppose it was as sensible as any other.”
“More so,” commented the Philosopher. “It is the only possible explanation.”
“I wish,” said the Minor Poet, “it were a question one could ask of people without offence; I so often long to put it. Why do men marry viragoes, pimply girls with incipient moustaches? Why do beautiful heiresses choose thick-lipped, little men who bully them? Why are old bachelors, generally speaking, sympathetic, kind-hearted men; and old maids, so many of them, sweet-looking and amiable?”
“I think,” said the Old Maid, “that perhaps - “ But there she stopped.
“Pray go on,” said the Philosopher. “I shall be so interested to have your views.”
“It was nothing, really,” said the Old Maid; “I have forgotten.”
“If only one could obtain truthful answers,” the Minor Poet, “what a flood of light they might let fall on the hidden half of life!”
“It seems to me,” said the Philosopher, “that, if anything, Love is being exposed to too much light. The subject is becoming vulgarised. Every year a thousand problem plays and novels, poems and essays, tear the curtain from Love’s Temple, drag it naked into the market-place for grinning crowds to gape at. In a million short stories, would-be comic, would-be serious, it is handled more or less coarsely, more or less unintelligently, gushed over, gibed and jeered at. Not a shred of self-respect is left to it. It is made the central figure of every farce, danced and sung round in every music-hall, yelled at by gallery, guffawed at by stalls. It is the stock-in-trade of every comic journal. Could any god, even a Mumbo Jumbo, so treated, hold its place among its votaries? Every term of endearment has become a catchword, every caress mocks us from the hoardings. Every tender speech we make recalls to us even while we are uttering it a hundred parodies. Every possible situation has been spoilt for us in advance by the American humorist.”
“I have sat out a good many parodies of ‘Hamlet,’” said the Minor Poet, “but the play still interests me. I remember a walking tour I once took in Bavaria. In some places the waysides are lined with crucifixes that are either comic or repulsive. There is a firm that turns them out by machinery. Yet, to the peasants who pass by, the Christ is still beautiful. You can belittle only what is already contemptible.”
“Patriotism is a great virtue,” replied the Philosopher: “the Jingoes have made it ridiculous.”
“On the contrary,” said the Minor Poet, “they have taught us to distinguish between the true and the false. So it is with love. The more it is cheapened, ridiculed, employed for market purposes, the less the inclination to affect it - to be in love with love, as Heine admitted he was, for its own sake.”
“Is the necessity to love born in us,” said the Girton Girl, “or do we practise to acquire it because it is the fashion - make up our mind to love, as boys learn to smoke, because every other fellow does it, and we do not like to be peculiar?”
“The majority of men and women,” said the Minor Poet, “are incapable of love. With most it is a mere animal passion, with others a mild affection.”
“We talk about love,” said the Philosopher, “as though it were a known quantity. After all, to say that a man loves is like saying that he paints or plays the violin; it conveys no meaning until we have witnessed his performance. Yet to hear the subject discussed, one might imagine the love of a Dante or a society Johnny, of a Cleopatra or a Georges Sand, to be precisely the same thing.”
“It was always poor Susan’s trouble,” said the Woman of the World; “she could never be persuaded that Jim really loved her. It was very sad, because I am sure he was devoted to her, in his way. But he could not do the sort of things she wanted him to do; she was so romantic. He did try. He used to go to all the poetical plays and study them. But he hadn’t the knack of it and he was naturally clumsy. He would rush into the room and fling himself on his knees before her, never noticing the dog, so that, instead of pouring out his heart as he had intended, he would have to start off with, ‘So awfully sorry! Hope I haven’t hurt the little beast?’ Which was enough to put anybody out.”
“Young girls are so foolish,” said the Old Maid; “they run after what glitters, and do not see the gold until it is too late. At first they are all eyes and no heart.”
“I knew a girl,” I said, “or, rather, a young married woman, who was cured of folly by the homoeopathic method. Her great trouble was that her husband had ceased to be her lover.”
“It seems to me so sad,” said the Old Maid. “Sometimes it is the woman’s fault, sometimes the man’s; more often both. The little courtesies, the fond words, the tender nothings that mean so much to those that love - it would cost so little not to forget them, and they would make life so much more beautiful.”
“There is a line of common sense running through all things,” I replied; “the secret of life consists in not diverging far from it on either side. He had been the most devoted wooer, never happy out of her eyes; but before they had been married a year she found to her astonishment that he could be content even away from her skirts, that he actually took pains to render himself agreeable to other women. He would spend whole afternoons at his club, slip out for a walk occasionally by himself, shut himself up now and again in his study. It went so far that one day he expressed a distinct desire to leave her for a week and go a-fishing with some other men. She never complained - at least, not to him.”
