Читать книгу The Faith Doctor: A Story of New York - Eggleston Edward - Страница 3

It is the first step that costs, say the French, and Millard made those false starts that are inevitable at the outset of every career. A beginner has to trust somebody, and in looking around for a mentor he fell into the hands of a fellow-boarder, one Sampson, who was a quiet man with the air of one who knows it all and is rather sorry that he does. Sampson fondly believed himself a man of the world, and he had the pleasure of passing for one among those who knew nothing at all about the world. He was a reflective man, who had given much thought to that gravest problem of a young man's life – how to keep trousers from bagging at the knees, the failure to solve which is one of the most pathetic facts of human history. After he had made one or two mistakes in following the dicta that Sampson uttered with all the diffidence of a papal encyclical, Millard became aware that in social matters pretension is often in inverse ratio to accomplishment. About the time that he gave up Sampson he renounced the cheap tailor into whose hands he had unwarily fallen, and consigned to oblivion a rather new thirty-dollar dress-suit in favor of one that cost half a hundred dollars more. He had by this time found out that the society which he had a chance to meet moved only in a borderland, and, like the ambitious man he was, he began already to lay his plans broad and deep, and to fit himself, by every means within his reach, for success in the greater world beyond.

Having looked about the circle of his small acquaintance in vain for a guide, he bethought him that there were probably books on etiquette. He entered a bookstore one day with the intention of asking for some work of the sort, but finding in the proprietor a well-known depositor of the bank, Charley bought a novel instead. Behold already the instinct of a man of the world, whose rôle it is to know without ever seeming to learn!

When at length Millard had secured a book with the title, "Guide to Good Manners as Recognized in the Very Best Society. By One of the Four Hundred," he felt that he had got his feet on firm ground.

It chanced about this time that Sampson brought an old college chum of his to eat a Sunday dinner at the boarding-house in Eighteenth street. He introduced this friend to Millard with that impressiveness which belonged to all that the melancholy Sampson did, as "Mr. Bradley, Mr. Harrison Holmes Bradley, the author; you know his writings."

Millard was covered with concealed shame to think that he did not happen to know the books of an author with a name so resonant, but he did not confess his ignorance. This was his first acquaintance with a real literary man – for the high-school teacher in Cappadocia who wrote poetry for the country papers would hardly count. The aspiring Millard thought himself in luck in thus early making the acquaintance of a man of letters, for to the half-sophisticated an author seems a person who reflects a mild and moonshiny luster on even a casual acquaintance. To know Mr. Bradley might be a first step toward gaining access to the more distinguished society of the metropolis.

Harrison Holmes Bradley proved to be on examination a New-Englander of the gaunt variety, an acute man of thirty, who ate his roast turkey and mashed potatoes with that avidity he was wont to manifest when running down an elusive fact in an encyclopædia. At the table Millard, for want of other conversation, plucked up courage to ask him whether he was connected with a newspaper.

"No; I am engaged in general literary work," said Bradley.

Neither Millard nor any one else at the table had the faintest notion of the nature of "general literary work." It sounded large, and Bradley was a clever talker on many themes fresh to Millard, and when he went away the author exacted a promise from Charley to call on him soon in his "den," and he gave him a visiting card which bore a street number in Harlem.

Two weeks later Millard, who was quite unwilling to miss a chance of making the acquaintance of a distinguished man through whom he might make other eligible friends, called on Bradley. He found him at work in his shirt-sleeves, in a hall bedroom of a boarding-house, smoking and writing as he sat with a gas-stove for near neighbor on the left hand, and a table, which was originally intended to serve as a wash-stand, on the other side of him. The author welcomed his guest with unaffected condescension and borrowed a chair from the next room for him to sit on. Finding Millard curious about the ways of authors, he entertained his guest with various anecdotes going to show how books are made and tending to throw light on the relation of authors to publishers. Millard noted what seemed to him a bias against publishers, of whom as a human species Bradley evidently entertained no great opinion. Millard's love for particulars was piqued by Bradley's statement at their first meeting that he was engaged in general literary work. He contrived to bring the author to talk of what he was doing and how it was done.

"You see," said Bradley, pleased to impart information on a theme in which he was much interested himself, "a literary life isn't what people generally take it to be. Most men in general literary work fail because they can do only one thing or, at most, two. To make a living one must be able to do everything."

"I suppose that is so," said Millard, still unable to form any notion of what was implied in Bradley's everything. To him all literature was divided into prose and poetry. General literature seemed to include both of these and something more.

"Last week," Bradley continued, illustratively, "I finished an index, wrote some verses for a pictorial advertisement of Appleblossom's Toilet Soap, and ground out an encyclopædia article on Christian Missions, and a magazine paper on the history of the game of bumblepuppy. I am now just beginning a novel of society life. Versatility is the very foundation of success. If it hadn't been for my knack of doing all sorts of things I never should have succeeded as I have."

Judging by Bradley's surroundings and his own account of the sordid drudgery of a worker in general literature, his success did not seem to Millard a very stunning one. But Bradley was evidently content with it, and what more can one ask of fortune?

"There is another element that goes a long way toward success in literature," proceeded the author, "and that is ability to work rapidly. When Garfield was shot I was out of work and two weeks behind with my board. I went straight to the Astor Library and worked till the library closed, gathering material. When I went to bed that night, or rather the next morning, I had a paper on 'Famous Assassinations of History' ready for the best market. But what I hate the most about our business is the having to write, now and then, a thunder and lightning story for the weekly blood-curdlers. Now there is Milwain, the poet, a man of genius, but by shop girls and boys reading the Saturday-night papers he is adored as Guy St. Cyr, the author of a long list of ghastly horribles thrown off to get money."

"This sort of work of all kinds is what you call general literary work?" queried Millard.

"General literary work is the evening dress we put on it when it has to pass muster before strangers," said Bradley, laughing.

What Millard noted with a sort of admiration was Bradley's perfect complacency, his contentment in grinding Philistine grists, the zest even that he evinced for literary pot-hunting, the continual exhilaration that he got out of this hazardous gamble for a living, and the rank frankness with which he made his own affairs tributary to the interest of his conversation.

At length Bradley emptied his pipe and laid it across his manuscript, at the same time rising nervously from his chair and sitting down on the bed for a change.

"Millard," he said, with a Bohemian freedom of address, "you must know more about society than I do. Give me advice on a point of etiquette."

Charley Millard was flattered as he never had been flattered before. He had not hoped to be considered an oracle so soon.

"You see," Bradley went on, "the publisher of a new magazine called the 'United States Monthly' has asked me to dinner. It is away over in Brooklyn, and, besides, the real reason I can't go is that I haven't got a dress-coat. Now what is the thing to do about regrets, cards, and so on?"

Fresh from reading his new "Guide to Good Manners," Millard felt competent to decide any question of Bristol-board, however weighty or complicated. He delivered his opinion with great assurance in the very words of the book.

"I believe in my soul," said Bradley, laughing, "that you prigged that from the 'Guide to Good Manners as Recognized in the Very Best Society.'"

Millard looked foolish, but answered good-naturedly, "Well, what if I did? Have you read the book?"

Bradley rocked his long slender body backward and forward as though about to fall into a spasm with suppressed merriment.

"There is only one good thing I can say for that book," he said, recovering himself.

"What's that?" asked Millard, a little vexed with the unaccountable mirth of his host.

"Why, that I got two hundred dollars for writing it."

"You wrote it?" exclaimed Millard, not concealing his opinion that Bradley was not a suitable person to give lessons in politeness.

"You see I was offered two hundred for a book on manners. I needed the money most consumedly. There was Sampson, who knew, or thought he knew, all about the ways of the world, though, between you and me, Sampson always did do a large business on a plaguy small capital. So I put Sampson to press and got out of him whatever I could, and then I rehashed a good deal in a disguised way from the old 'Bazar Book of Decorum' and the still older Count D'Orsay, and some others. You have to know how to do such things if you're going to make a living as a literary man. The title is a sixpenny publisher's lie. In the day of judgment, authors, or at least those of us doing general literary work, will get off easy on the ground that poor devils scratching for their dinners can not afford to be too high-toned, but publishers won't have that excuse."

Millard made his way home that night with some sense of disappointment. Being a fine gentleman was not so easy as it had seemed. The heights grew more and more frosty and inaccessible as he approached them. Yet he had really made a great advance by his talk with Bradley. He had cleared the ground of rubbish. And though during the next week he bought two or three of the books of decorum then in vogue, he had learned to depend mainly on his own observations and good sense. He had also acquired a beginning of that large stock of personal information which made him in after years so remarkable. Natural bent is shown in what a man assimilates. Not an item of all the personal traits and anecdotes of writers and publishers brought out in Bradley's unreserved talk had escaped him, and years afterward he could use Bradley's funny stories to give piquancy to conversation.

It was this memory of individual traits and his tactful use of it that helped to launch him on the sea of social success. The gentleman who sat next to him at dinner, the lady who chatted with him at a tea or a reception, felt certain that a man who knew all about every person in any way distinguished in society could not be quite without conspicuousness of some sort himself. This belief served to open doors to him. Moreover, his fund of personal gossip, judiciously and good-naturedly used, made him a valuable element in a small company; the interest never flagged when he talked. Then, too, Millard had a knack of repeating in a way that seemed almost accidental, or at least purely incidental, what this or that noted person had said to him. It was in appearance only an embellishment of his talk, but it served to keep up a belief in the breadth, and especially the height, of his acquaintance. If he had only been presented to Mrs. Manorhouse, and she had repeated her stock witticism in his presence, Millard knew how to quote it as a remark of Mrs. Manorhouse, but the repose of his manner left the impression that he set no particular store by the Manorhouses. He early learned the inestimable value of a chastened impudence to a man with social ambitions.

Some sacrifice of self-respect? Doubtless. But what getter-on in the world is there that does not have to pay down a little self-respect now and then? Your millionaire usually settles at a dear rate, and to be a great statesman implies that one has paid a war tariff in this specie.

One of the talents that contributed to Millard's success was a knack of taking accomplishments quickly. Whether it was fencing, or boxing, or polo that was the temporary vogue; whether it was dancing, or speaking society French, he held his own with the best. In riding he was easily superior to the riding-school cavaliers, having the advantage of familiarity with a horse's back from the time he had bestrode the plow-horses on their way to water. Though he found time in his first years in New York for only one little run in Europe, he always had the air of a traveled man, so quickly did he absorb information, imitate fashions, and get rid of provincial manners and prejudices. His friends never knew where he learned anything. When a Frenchman of title was basking in New York drawing-rooms it was found that Millard was equal to a tête-à-tête with the monolingual foreigner, though his accent was better than his vocabulary was copious. His various accomplishments of course represented many hours of toil, but it was toil of which his associates never heard. He treated himself as a work of art, of which the beholder must judge only by the charming result, with no knowledge of the foregoing effort, no thought of the periods of ugly incompleteness that have been passed on the way to perfection.