upon the sofa. I had been talking some time when Mrs Ellis came into the room and said, “Why are you sitting in the dark?” Ellis answered, “But we are not,” and then added in a voice of wonder, “I thought the lamp was lit, and that I was sitting up, and now I find that I am lying down and that we are in darkness.” I had seen a flicker of light over the ceiling but thought it a reflection from some light outside the house, which may have been the case.
XVII
I had already met most of the poets of my generation. I had said, soon after the publication of The Wanderings of Usheen, to the editor of a series of shilling reprints, who had set me to compile tales of the Irish fairies, “I am growing jealous of other poets and we will all grow jealous of each other unless we know each other and so feel a share in each other’s triumph.” He was a Welshman, lately a mining engineer, Ernest Rhys, a writer of Welsh translations and original poems, that have often moved me greatly though I can think of no one else who has read them. He was perhaps a dozen years older than myself and through his work as editor knew everybody who would compile a book for seven or eight pounds. Between us we founded The Rhymers’ Club, which for some years was to meet every night in an upper room with a sanded floor in an ancient eating house in the Strand called The Cheshire Cheese. Lionel Johnson, Ernest Dowson, Victor Plarr, Ernest Radford, John Davidson, Richard le Gallienne, T. W. Rolleston, Selwyn Image, Edwin Ellis, and John Todhunter came constantly for a time, Arthur Symons and Herbert Home, less constantly, while William Watson joined but never came and Francis Thompson came once but never joined; and sometimes if we met in a private house, which we did occasionally, Oscar Wilde came. It had been useless to invite him to The Cheshire Cheese for he hated Bohemia. “Olive Schreiner,” he said once to me, “is staying in the East End because that is the only place where people do not wear masks upon their faces, but I have told her that I live in the West End because nothing in life interests me but the mask.”
We read our poems to one another and talked criticism and drank a little wine. I sometimes say when I speak of the club, “We had such and such ideas, such and such a quarrel with the great Victorians, we set before us such and such aims,” as though we had many philosophical ideas. I say this because I am ashamed to admit that I had these ideas and that whenever I began to talk of them a gloomy silence fell upon the room. A young Irish poet, who wrote excellently but had the worst manners, was to say a few years later, “You do not talk like a poet, you talk like a man of letters,” and if all the Rhymers had not been polite, if most of them had not been to Oxford or Cambridge, the greater number would have said the same thing. I was full of thought, often very abstract thought, longing all the while to be full of images, because I had gone to the art school instead of a university. Yet even if I had gone to a university, and learned all the classical foundations of English literature and English culture, all that great erudition which once accepted frees the mind from restlessness, I should have had to give up my Irish subject matter, or attempt to found a new tradition. Lacking sufficient recognized precedent I must needs find out some reason for all I did. I knew almost from the start that to overflow with reasons was to be not quite well-born, and when I could I hid them, as men hide a disagreeable ancestry; and that there was no help for it seeing that my country was not born at all. I was of those doomed to imperfect achievement, and under a curse, as it were, like some race of birds compelled to spend the time, needed for the making of the nest, in argument as to the convenience of moss and twig and lichen. Le Gallienne and Davidson, and even Symons, were provincial at their setting out, but their provincialism was curable, mine incurable; while the one conviction shared by all the younger men, but principally by Johnson and Home, who imposed their personalities upon us, was an opposition to all ideas, all generalizations that can be explained and debated. E – fresh from Paris would sometimes say – “We are concerned with nothing but impressions,” but that itself was a generalization and met but stony silence. Conversation constantly dwindled into “Do you like so and so’s last book?” “No, I prefer the book before it,” and I think that but for its Irish members, who said whatever came into their heads, the club would not have survived its first difficult months. I saw – now ashamed that I saw “like a man of letters,” now exasperated at their indifference to the fashion of their own river-bed – that Swinburne in one way, Browning in another, and Tennyson in a third, had filled their work with what I called “impurities,” curiosities about politics, about science, about history, about religion; and that we must create once more the pure work.
Our clothes were, for the most part unadventurous like our conversation, though I indeed wore a brown velveteen coat, a loose tie, and a very old inverness cape, discarded by my father twenty years before and preserved by my Sligo-born mother whose actions were unreasoning and habitual like the seasons. But no other member of the club, except Le Gallienne, who wore a loose tie, and Symons, who had an inverness cape that was quite new and almost fashionable, would have shown himself for the world in any costume but “that of an English gentleman.” “One should be quite unnoticeable,” Johnson explained to me. Those who conformed most carefully to the fashion in their clothes, generally departed furthest from it in their handwriting, which was small, neat, and studied, one poet – which, I forget – having founded his upon the handwriting of George Herbert. Dowson and Symons I was to know better in later years when Symons became a very dear friend, and I never got behind John Davidson’s Scottish roughness and exasperation, though I saw much of him, but from the first I devoted myself to Lionel Johnson. He and Horne and Image and one or two others, shared a man-servant and an old house in Charlotte Street, Fitzroy Square, typical figures of transition, doing as an achievement of learning and of exquisite taste what their predecessors did in careless abundance. All were Pre-Raphaelite, and sometimes one might meet in the rooms of one or other a ragged figure, as of some fallen dynasty, Simeon Solomon the Pre-Raphaelite painter, once the friend of Rossetti and of Swinburne, but fresh now from some low public house. Condemned to a long term of imprisonment for a criminal offence, he had sunk into drunkenness and misery. Introduced one night, however, to some man who mistook him, in the dim candle light, for another Solomon, a successful academic painter and R.A., he started to his feet in a rage with, “Sir, do you dare to mistake me for that mountebank?” Though not one had hearkened to the feeblest caw, or been spattered by the smallest dropping from any Huxley, Tyndall, Carolus Duran, Bastien-Lepage bundle of old twigs I began by suspecting them of lukewarmness, and even backsliding, and I owe it to that suspicion that I never became intimate with Horne, who lived to become the greatest English authority upon Italian life in the fourteenth century and to write the one standard work on Botticelli. Connoisseur in several arts, he had designed a little church in the manner of Inigo Jones for a burial ground near the Marble Arch. Though I now think his little church a masterpiece, its style was more than a century too late to hit my fancy, at two or three and twenty; and I accused him of leaning towards that eighteenth century
“That taught a school
Of dolts to smooth, inlay, and clip, and fit
Till, like the certain wands of Jacob’s wit,
Their verses tallied.”
Another fanaticism delayed my friendship with two men, who are now my friends and in certain matters my chief instructors. Somebody, probably Lionel Johnson, brought me to the studio of Charles Ricketts and Charles Shannon, certainly heirs of the great generation, and the first thing I saw was a Shannon picture of a lady and child, arrayed in lace silk and satin, suggesting that hated century. My eyes were full of some more mythological mother and child and I would have none of it and I told Shannon that he had not painted a mother and child, but elegant people expecting visitors and I thought that a great reproach. Somebody writing in The Germ had said that a picture of a pheasant and an apple was merely a picture of something to eat and I was so angry with the indifference to subject, which was the commonplace of all art criticism since Bastien-Lepage, that I could at times see nothing else but subject. I thought that, though it might not matter to the man himself whether he loved a white woman or a black, a female pickpocket or a regular communicant of the Church of England, if only he loved strongly, it certainly did matter to his relations and even under some circumstances to his whole neighbourhood. Sometimes indeed, like some father in Molière, I ignored the lover’s feelings altogether and even refused to admit
