Some account has been given, in a former part of this story, how Mr. Pen, during his residence at home, after his defeat at Oxbridge, had occupied himself with various literary compositions, and amongst other works, had written the greater part of a novel. This book, written under the influence of his youthful embarrassments, amatory and pecuniary, was of a very fierce, gloomy, and passionate sort,— the Byronic despair, the Wertherian despondency, the mocking bitterness of Mephistopheles of Faust, were all reproduced and developed in the character of the hero; for our youth had just been learning the German language, and imitated, as almost all clever lads do, his favourite poets and writers. Passages in the volumes once so loved, and now read so seldom, still bear the mark of the pencil with which he noted them in those days. Tears fell upon the leaf of the book, perhaps, or blistered the pages of his manuscript as the passionate young man dashed his thoughts down. If he took up the books afterwards he had no ability or wish to sprinkle the leaves with that early dew of former times: his pencil was no longer eager to score its marks of approval: but as he looked over the pages of his manuscript, he remembered what had been overflowing feelings which had caused him to blot it, and the pain which had inspired the line. If the secret history of books could be written, and the author’s private thoughts and meanings noted down alongside of his story, how many insipid volumes would become interesting, and dull tales excite the reader! Many a bitter smile passed over Pen’s face as he read his novel, and recalled the time and feelings which gave it birth. How pompous some of the grand passages appeared; and how weak were others in which he thought he had expressed his full heart! This page was imitated from a then favourite author, as he could now clearly see and confess, though he had believed himself to be writing originally then. As he mused over certain lines he recollected the place and hour where he wrote them: the ghost of the dead feeling came back as he mused, and he blushed to review the faint image. And what meant those blots on the page? As you come in the desert to a ground where camels’ hoofs are marked in the clay, and traces of withered herbage are yet visible, you know that water was there once; so the place in Pen’s mind was no longer green, and the fons lacrymarum was dried up.
He used this simile one morning to Warrington, as the latter sate over his pipe and book, and Pen, with much gesticulation according to his wont when excited, and with a bitter laugh, thumped his manuscript down on the table, making the tea-things rattle, and, the blue milk dance in the jug. On the previous night he had taken the manuscript out of a long-neglected chest, containing old shooting jackets, old Oxbridge scribbling-books, his old surplice, and battered cap and gown, and other memorials of youth, school, and home. He read in the volume in bed until he fell asleep, for the commencement of the tale was somewhat dull, and he had come home tired from a London evening party.
“By Jove!” said Pen, thumping down his papers, “when I think that these were written but very few years ago, I am ashamed of my memory. I wrote this when I believed myself be eternally in love with that little coquette, Miss Amory. I used to carry down verses to her, and put them into the hollow of a tree, and dedicate them ‘Amori.’”
“That was a sweet little play upon words,” Warrington remarked, with a puff “Amory — Amori. It showed proof of scholarship. Let us hear a bit of the rubbish.” And he stretched over from his easy-chair, and caught hold of Pen’s manuscript with the fire-tongs, which he was just using in order to put a coal into his pipe. Thus, in possession of the volume, he began to read out from the ‘Leaves from the Life-book of Walter Lorraine.’
“‘False as thou art beautiful! heartless as thou art fair! mockery of Passion!’ Walter cried, addressing Leonora; ‘what evil spirit hath sent thee to torture me so? O Leonora.——’”
“Cut that part,” cried out Pen, making a dash at the book, which, however, his comrade would not release. “Well! don’t read it out at any rate. That’s about my other flame, my first — Lady Mirabel that is now. I saw her last night at Lady Whiston’s. She asked me to a party at her house, and said that, as old friends, we ought to meet oftener. She has been seeing me any time these two years in town, and never thought of inviting me before; but seeing Wenham talking to me, and Monsieur Dubois, the French literary man, who had a dozen orders on, and might have passed for a Marshal of France, she condescended to invite me. The Claverings are to be there on the same evening. Won’t it be exciting to meet one’s two flames at the same table?”
“Two flames!— two heaps of burnt-out cinders,” Warrington said. “Are both the beauties in this book?”
“Both, or something like them,” Pen said. “Leonora, who marries the Duke, is the Fotheringay. I drew the Duke from Magnus Charters, with whom I was at Oxford; it’s a little like him; and Miss Amory is Neaera. By gad, that first woman! I thought of her as I walked home from Lady Whiston’s in the moonlight; and the whole early scenes came back to me as if they had been yesterday. And when I got home, I pulled out the story which I wrote about her and the other three years ago: do you know, outrageous as it is, it has some good stuff in it, and if Bungay won’t publish it, I think Bacon will.”
“That’s the way of poets,” said Warrington. “They fall in love, jilt, or are jilted; they suffer and they cry out that they suffer more than any other mortals: and when they have experienced feelings enough they note them down in a book, and take the book to market. All poets are humbugs, all literary men are humbugs; directly a man begins to sell his feelings for money he’s a humbug. If a poet gets a pain in his side from too good a dinner, he bellows Ai Ai louder than Prometheus.”
“I suppose a poet has a greater sensibility than another man,” said Pen, with some spirit. “That is what makes him a poet. I suppose that he sees and feels more keenly: it is that which makes him speak, of what he feels and sees. You speak eagerly enough in your leading articles when you espy a false argument in an opponent, or detect a quack in the House. Paley, who does not care for anything else in the world, will talk for an hour about a question of law. Give another the privilege which you take yourself, and the free use of his faculty, and let him be what nature has made him. Why should not a man sell his sentimental thoughts as well as you your political ideas, or Paley his legal knowledge? Each alike is a matter of experience and practice. It is not money which causes you to perceive a fallacy, or Paley to argue a point; but a natural or acquired aptitude for that kind of truth: and a poet sets down his thoughts and experiences upon paper as a painter does a landscape or a face upon canvas, to the best of his ability, and according to his particular gift. If ever I think I have the stuff in me to write an epic, by Jove I will try If I only feel that I am good enough to crack a joke or tell a story, I will do that.”
“Not a bad speech, young one,” Warrington said, but that does not prevent all poets from being humbugs.”
“What — Homer, Aeschylus, Shakspeare and all?”
“Their names are not to be breathed in the same sense with you pigmies,” Mr. Warrington said: “there are men and men, sir.”
“Well, Shakspeare was a man who wrote for money, just as you and I do,” Pen answered, at which Warrington confounded his impudence, and resumed his pipe and his manuscript.
There was not the slightest doubt then that this document contained a great deal of Pen’s personal experiences, and that ‘Leaves from the Life-book of Walter Lorraine’ would never have been written but for Arthur Pendennis’s own private griefs, passions, and follies. As we have become acquainted with these in the first volume of his biography, it will not be necessary to make large extracts from the novel of ‘Walter Lorraine,’ in which the young gentleman had depicted such of them as he thought were likely to interest the reader, or were suitable for the purpose of his story.
Now, though he had kept it in his box for nearly half of the period during which, according to the Horatian maxim, a work of art ought to lie ripening (a maxim, the truth of which may, by the way, be questioned altogether), Mr. Pen had not buried his novel for this time, in order that the work might improve, but because he did not know where else to bestow it, or had no particular desire to see it. A man who thinks of putting away a composition for ten years before he shall give it to the world, or exercise his own maturer judgment upon it, had best be very sure of the original strength and durability of the work; otherwise on withdrawing it from its crypt he may find, that like small wine it has lost what flavour it once had, and is only tasteless when opened. There are works of all tastes and smacks, the small and the strong, those that improve by age, and those that won’t bear keeping at all, but are pleasant at the first draught, when they refresh and sparkle.
Now Pen had never any notion, even in the time of his youthful inexperience and fervour of imagination, that the story he was writing was a masterpiece of composition, or that he was the equal of the great authors whom he admired; and when he now reviewed his little performance, he was keenly enough alive to its faults, and pretty modest regarding its merits. It was not very good, he thought; but it was as good as most books of the kind that had the run of circulating libraries and the career of the season. He had critically examined more than one fashionable novel by the authors of the day then popular, and he thought that his intellect was as good as theirs and that he could write the English language as well as those ladies or gentlemen; and as he now ran over his early performance, he was pleased to find here and there passages exhibiting both fancy and vigour, and traits, if not of genius, of genuine passion and feeling. This, too, was Warrington’s verdict, when that severe critic, after half an hour’s perusal of the manuscript, and the consumption of a couple of pipes of tobacco, laid Pen’s book down, yawning portentously. “I can’t read any more of that balderdash now,” he said; “but it seems to me there is some good stuff in it, Pen, my boy. There’s a certain greenness and freshness in it which I like somehow. The bloom disappears off the face of poetry after you begin to shave. You can’t get up that naturalness and artless rosy tint in after days. Your cheeks are pale, and have got faded by exposure to evening parties, and you are obliged to take curling-irons, and macassar, and the deuce-knows-what to your whiskers; they curl ambrosially, and you are very grand and genteel, and so forth; but, ah! Pen, the spring-time was the best.”
“What the deuce have my whiskers to do with the subject in hand?” Pen said (who, perhaps, may have been nettled by Warrington’s allusion to those ornaments, which, to say the truth, the young man coaxed, and curled, and oiled, and perfumed, and petted, in rather an absurd manner). “Do you think we can do anything with ‘Walter Lorraine’? Shall we take him to the publishers, or make an auto-da-fe of him?”
“I don’t see what is the good of incremation,” Warrington said, “though I have a great mind to put him into the fire, to punish your atrocious humbug and hypocrisy. Shall I burn him indeed? You have much too great a value for him to hurt a hair of his head.”
“Have I? Here goes,” said Pen, and ‘Walter Lorraine’ went off the table, and was flung on to the coals. But the fire having done its duty of boiling the young man’s breakfast-kettle, had given up work for the day, and had gone out, as Pen knew very well; Warrington with a scornful mile, once more took up the manuscript with the tongs from out of the harmless cinders.
“Oh, Pen, what a humbug you are!” Warrington said; “and what is worst of all, sir, a clumsy humbug. I saw you look to see that the fire was out before you sent ‘Walter Lorraine’ behind the bars. No, we won’t burn him: we will carry him to the Egyptians, and sell him. We will exchange him away for money, yea, for silver and gold, and for beef and for liquors, and for tobacco and for raiment. This youth will fetch some price in the market; for he is a comely lad, though not over strong; but we will fatten him up and give him the bath, and curl his hair, and we will sell him for a hundred piasters to Bacon or to Bungay. The rubbish is saleable enough, sir; and my advice to you is this: the next time you go home for a holiday, take ‘Walter Lorraine’ in your carpet-bag — give him a more modern air, prune away, though sparingly, some of the green passages, and add a little comedy, and cheerfulness, and satire, and that sort of thing, and then we’ll take him to market, and sell him. The book is not a wonder of wonders, but it will do very well.”
“Do you think so, Warrington?” said Pen, delighted, for this was great praise from his cynical friend.
“You silly young fool! I think it’s uncommonly clever,” Warrington said in a kind voice. “So do you, sir.” And with the manuscript which he held in his hand he playfully struck Pen on the cheek. That part of Pen’s countenance turned as red as it had ever done in the earliest days of his blushes: he grasped the other’s hand and said, “Thank you, Warrington,” with all his might: and then he retired to his own room with his book, and passed the greater part of the day upon his bed re-reading it; and he did as Warrington had advised, and altered not a little, and added a great deal, until at length he had fashioned ‘Walter Lorraine’ pretty much into the shape in which, as the respected novel-reader knows, it subsequently appeared.
Whilst he was at work upon this performance, the good-natured Warrington artfully inspired the two gentlemen who “read” for Messrs. Bacon and Bungay with the greatest curiosity regarding ‘Walter Lorraine,’ and pointed out the peculiar merits of its distinguished author. It was at the period when the novel, called ‘The Fashionable,’ was in vogue among us; and Warrington did not fail to point out, as before, how Pen was a man of the very first fashion himsel............