tion>Daisy Ashford, James Matthew Barrie
The Young Visiters; or, Mr. Salteena's Plan
Published by Good Press, 2020
EAN 4064066070205
Table of Contents
Preface by J. M. Barrie
PREFACE
The "owner of the copyright" guarantees that "The Young Visiters" is the unaided effort in fiction of an authoress of nine years. "Effort," however, is an absurd word to use, as you may see by studying the triumphant countenance of the child herself, which is here reproduced as frontispiece to her sublime work. This is no portrait of a writer who had to burn the oil at midnight (indeed there is documentary evidence that she was hauled off to bed every evening at six): it has an air of careless power; there is a complacency about it that by the severe might perhaps be called smugness. It needed no effort for that face to knock off a masterpiece. It probably represents precisely how she looked when she finished a chapter. When she was actually at work I think the expression was more solemn, with the tongue firmly clenched between the teeth; an unholy rapture showing as she drew near her love chapter. Fellow-craftsmen will see that she is looking forward to this chapter all the time.
The manuscript is in pencil in a stout little note book (twopence), and there it has lain for years, for though the authoress was nine when she wrote it she is now a grown woman. It has lain, in lavender as it were, in the dumpy note book, waiting for a publisher to ride that way and rescue it; and here he is at last, not a bit afraid that to this age it may appear "Victorian." Indeed if its pictures of High Life are accurate (as we cannot doubt, the authoress seems always so sure of her facts) they had a way of going on in those times which is really surprising. Even the grand historical figures were free and easy, such as King Edward, of whom we have perhaps the most human picture ever penned, as he appears at a levée "rather sumshiously," in a "small but costly crown," and afterwards slips away to tuck into ices. It would seem in particular that we are oddly wrong in our idea of the young Victorian lady as a person more shy and shrinking than the girl of to-day. The Ethel of this story is a fascinating creature who would have a good time wherever there were a few males, but no longer could she voyage through life quite so jollily without attracting the attention of the censorious. Chaperon seems to be one of the very few good words of which our authoress had never heard.
The lady she had grown into, the "owner of the copyright" already referred to, gives me a few particulars of this child she used to be, and is evidently a little scared by her. We should probably all be a little scared (though proud) if that portrait was dumped down in front of us as ours, and we were asked to explain why we once thought so much of ourselves as that.
Except for the smirk on her face, all I can learn of her now is that she was one of a small family who lived in the country, invented their own games, dodged the governess and let the rest of the world go hang. She read everything that came her way, including, as the context amply proves, the grown-up novels of the period. "I adored writing and used to pray for bad weather, so that I need not go out but could stay in and write." Her mother used to have early tea in bed; sometimes visitors came to the house, when there was talk of events in high society: there was mention of places called Hampton Court, the Gaiety Theatre and the "Crystale" Palace. This is almost all that is now remembered, but it was enough for the blazing child. She sucked her thumb for a moment (this is guesswork), and sat down to her amazing tale.
"Her mother used to have early tea in bed." Many authors must have had a similar experience, but they all missed the possibilities of it until this young woman came along. It thrilled her; and tea in bed at last takes its proper place in fiction. "Mr. Salteena woke up rarther early next day and was delighted to find Horace the footman entering with a cup of tea. Oh thank you my man said Mr. Salteena rolling over in the costly bed. Mr. Clark is nearly out of the bath sir announced Horace I will have great pleasure in turning it on for you if such is your desire. Well yes you might said Mr. Salteena seeing it was the idear." Mr. Salteena cleverly conceals his emotion, but as soon as he is alone he rushes to Ethel's door, "I say said Mr. Salteena excitedly I have had some tea in bed."
"Sometimes visitors came to the house." Nothing much in that to us, but how consummately this child must have studied them; if you consider what she knew of them before the "viacle" arrived to take them back to the station you will never dare to spend another week-end in a house where there may be a novelist of nine years. I am sure that when you left your bedroom this child stole in, examined everything and summed you up. She was particularly curious about the articles on your dressing-table, including the little box containing a reddish powder, and she never desisted from watching you till she caught you dabbing it on your cheeks. This powder, which she spells "ruge," went a little to her head, and it accompanies Ethel on her travels with superb effect. For instance, she is careful to put it on to be proposed to; and again its first appearance is excused in words that should henceforth be serviceable in every boudoir. "I shall put some red ruge on my face said Ethel becouse I am very pale owing to the drains in this house."
Those who read will see how the rooms in Hampton Court became the "compartments" in the "Crystale" Palace, and how the "Gaierty" Hotel grew out of the Gaiety Theatre, with many other agreeable changes. The novelist will find the tale a model for his future work. How incomparably, for instance, the authoress dives into her
