very good and very wise of me not to tell it before) that he is one of the most unlucky men I know, having put all his money into a pharmacy at Hyeres, when the cholera (certainly not his fault) swept away his customers in a body. Thus you can imagine the pleasure I have to announce to him a spark of hope, for he sits to-day in his pharmacy, doing nothing and taking nothing, and watching his debts inexorably mount up.
To pass to other matters: your hand, you are perhaps aware, is not one of those that can be read running; and the name of your daughter remains for me undecipherable. I call her, then, your daughter — and a very good name too — and I beg to explain how it came about that I took her house. The hospital was a point in my tale; but there is a house on each side. Now the true house is the one before the hospital: is that No. 11? If not, what do you complain of? If it is, how can I help what is true? Everything in the DYNAMITER is not true; but the story of the Brown Box is, in almost every particular; I lay my hand on my heart and swear to it. It took place in that house in 1884; and if your daughter was in that house at the time, all I can say is she must have kept very bad society.
But I see you coming. Perhaps your daughter's house has not a balcony at the back? I cannot answer for that; I only know that side of Queen Square from the pavement and the back windows of Brunswick Row. Thence I saw plenty of balconies (terraces rather); and if there is none to the particular house in question, it must have been so arranged to spite me.
I now come to the conclusion of this matter. I address three questions to your daughter: -
1st Has her house the proper terrace?
2nd. Is it on the proper side of the hospital?
3rd. Was she there in the summer of 1884?
You see, I begin to fear that Mrs. Desborough may have deceived me on some trifling points, for she is not a lady of peddling exactitude. If this should prove to be so, I will give your daughter a proper certificate, and her house property will return to its original value.
Can man say more? — Yours very truly,
I saw the other day that the Eternal had plagiarised from LOST SIR MASSINGBERD: good again, sir! I wish he would plagiarise the death of Zero.
Letter: TO W. H. LOW
MY DEAR LOW, — I send you two photographs: they are both done by Sir Percy Shelley, the poet's son, which may interest. The sitting down one is, I think, the best; but if they choose that, see that the little reflected light on the nose does not give me a turn-up; that would be tragic. Don't forget 'Baronet' to Sir Percy's name.
We all think a heap of your book; and I am well pleased with my dedication. — Yours ever,
P.S. — APROPOS of the odd controversy about Shelley's nose: I have before me four photographs of myself, done by Shelley's son: my nose is hooked, not like the eagle, indeed, but like the accipitrine family in man: well, out of these four, only one marks the bend, one makes it straight, and one suggests a turn-up. This throws a flood of light on calumnious man — and the scandal- mongering sun. For personally I cling to my curve. To continue the Shelley controversy: I have a look of him, all his sisters had noses like mine; Sir Percy has a marked hook; all the family had high cheek-bones like mine; what doubt, then, but that this turn-up (of which Jeaffreson accuses the poet, along with much other FATRAS) is the result of some accident similar to what has happened in my photographs by his son?
Letter: TO THOMAS STEVENSON
MY DEAR FATHER, — Many thanks for a letter quite like yourself. I quite agree with you, and had already planned a scene of religion in BALFOUR; the Society for the Propagation of Christian Knowledge furnishes me with a catechist whom I shall try to make the man. I have another catechist, the blind, pistol-carrying highway robber, whom I have transferred from the Long Island to Mull. I find it a most picturesque period, and wonder Scott let it escape. The COVENANT is lost on one of the Tarrans, and David is cast on Earraid, where (being from inland) he is nearly starved before he finds out the island is tidal; then he crosses Mull to Toronsay, meeting the blind catechist by the way; then crosses Morven from Kinlochaline to Kingairloch, where he stays the night with the good catechist; that is where I am; next day he is to be put ashore in Appin, and be present at Colin Campbell's death. To-day I rest, being a little run down. Strange how liable we are to brain fag in this scooty family! But as far as I have got, all but the last chapter, I think David is on his feet, and (to my mind) a far better story and far sounder at heart than TREASURE ISLAND.
I have no earthly news, living entirely in my story, and only coming out of it to play patience. The Shelleys are gone; the Taylors kinder than can be imagined. The other day, Lady Taylor drove over and called on me; she is a delightful old lady, and great fun. I mentioned a story about the Duchess of Wellington which I had heard Sir Henry tell; and though he was very tired, he looked it up and copied it out for me in his own hand. — Your most affectionate son,
Letter: TO C. W. STODDARD
MY DEAR STODDARD, — I am a dreadful character; but, you see, I have at last taken pen in hand; how long I may hold it, God knows. This is already my sixth letter to-day, and I have many more waiting; and my wrist gives me a jog on the subject of scrivener's cramp, which is not encouraging.
I gather you were a little down in the jaw when you wrote your last. I am as usual pretty cheerful, but not very strong. I stay in the house all winter, which is base; but, as you continue to see, the pen goes from time to time, though neither fast enough nor constantly enough to please me.
My wife is at Bath with my father and mother, and the interval of widowery explains my writing. Another person writing for you when you have done work is a great enemy to correspondence. To-day I feel out of health, and shan't work; and hence this so much overdue reply.
I was re-reading some of your South Sea Idyls the other day: some of the chapters are very good indeed; some pages as good as they can be.
How does your class get along? If you like to touch on OTTO, any day in a by-hour, you may tell them — as the author's last dying confession — that it is a strange example of the difficulty of being ideal in an age of realism; that the unpleasant giddy- mindedness, which spoils the book and often gives it a wanton air of unreality and juggling with air-bells, comes from unsteadiness of key; from the too great realism of some chapters and passages — some of which I have now spotted, others I dare say I shall never spot — which disprepares the imagination for the cast of the remainder.
Any story can be made TRUE in its own key; any story can be made FALSE by the choice of a wrong key of detail or style: Otto is made to reel like a drunken — I was going to say man, but let us substitute cipher — by the variations of the key. Have you observed that the famous problem of realism and idealism is one purely of detail? Have you seen my 'Note on Realism' in Cassell's MAGAZINE OF ART; and 'Elements of Style' in the CONTEMPORARY; and 'Romance' and 'Humble Apology' in LONGMAN'S? They are all in your line of business; let me know what you have not seen and I'll send 'em.
I am glad I brought the old house up to you. It was a pleasant old spot, and I remember you there, though still more dearly in your own strange den upon a hill in San Francisco; and one of the most San Francisco-y parts of San Francisco.
Good-bye,
