TWO TRAVELLERS.
One of the most eccentric men I ever met, and certainly one of the most successful journalists—a rara avis, for he made a fortune in Fleet Street, and retired to live in a castle in the country—was a man whose name, although a very singular one, remains absolutely unknown even to members of the Fourth Estate. He was a clever, hard-working journalist; every line he wrote—and he was always writing—was printed and well-paid for, but he never signed an article, whilst others, journalists, specialists, poets, essayists—logrollers of high degree—see their name often enough, are "celebrities," "men of the time," fêted and written about, but eventually retire on the Civil List. Eccentricity is the breath of their nostrils, their very existence depends upon it, publicity is essential. My friend's eccentricity was for his own pleasure. He lived in a frugal—some might think in a miserly way—in two rooms in one of the Inns of Court. Perhaps I shall be more correct if I say he existed in one. A loaf of bread and half a pint of milk was his daily fare. The room he slept in he worked in. The other was empty, save for bundles of dusty old newspapers containing articles from his ever active brain. "I keep this room," said he, "for times when I am over-wrought. Then I shut myself up in it, and roar! When by this process I have blown away my mental cobwebs, my brain regains its pristine energy, and I go back to my study calm and collected, having done no one any harm, and myself a lot of good." I have dined at his Club with him in the most luxurious fashion, quite regardless of expense. He was a capital host, but, like the magazines he wrote for, he only appeared replete once a month. His Press work he looked upon as mere bread and milk. His work was excellent, journalism which editors term "safe," neither too brilliant nor too dull, certainly having no trace whatever of eccentricity.
I may here offer an opinion, and make a suggestion to young journalists, and that is—safe, steady, dull mediocrity is what pays in the long run; to attempt to be brilliant when not a genius is fatal. To have the genius, brilliancy, pluck, and success means tremendous prosperity and favour for a time, but the editors and the public tire of your cleverness. You are too much in evidence. It is safer from a mere business standpoint to be the steady, stupid tortoise than the brilliant hare. The man or woman who writes a carefully thought-out essay is flattered, and quoted, and talked about: for that article the writer may possibly receive as many sovereigns as the writer of a newspaper article receives shillings; but the shillings come every day, and the sovereigns once a month. It is wiser in the long run to be satisfied with a loaf and milk once a day than with a dinner at a Club every four weeks.
THE DUKE OF BROADACRES.
If in the old days the Bohemian scribbler was not in Society, he could at least imagine himself there. There was nothing to prevent his speaking of a member of the aristocracy as "one of us" with far less embarrassment and with as much truth as he could nowadays when he is invited—but still as the oil that never will mix with water. Except in imagination—an imagination such as I recollect a well-known figure in literary Bohemia had when I knew it well, a writer of stories for the popular papers: Society stories, in which a Duke ran away with a governess, or a Duchess eloped with an artist, each weekly instalment winding up with a sensational event, so as to carry forward the interest of the reader. This writer—quite excellent in his way—a thorough Bohemian, knowing nothing about the Society he wrote about, had the power of making himself, and sometimes fresh acquaintances, believe that he played in real life a part in the story he was writing. He did not refer to the experiences as related by him as incidents in his story, but as actual events of the day.
"Brandy and soda? Thanks. My dear fellow, I feel a perfect wreck, shaken to pieces. I had an experience to-day I shall never forget. I have just arrived from Devonshire; ran down by a night train to look at a hunter Lord Briarrose wanted to sell me. Bob—that is Briarrose—and I travelled together. He is going to be married, you know; heiress; great beauty—neighbour—rolling in wealth. I stopped at the Castle last night, and before Bob was up I was on the thoroughbred and well over the country, returning about eleven along the top of the cliffs. To my horror, I saw a carriage and pair charging down a road which at one time continued a long distance skirting the cliffs. Cliffs had fallen; road cut off; unprotected; drop down cliff eight hundred feet on to pointed rocks and deep sea. There was nothing between the runaway horses and the cliff, except a storm-broken solitary tree with one branch curved over the road. When the horses bolted, the groom fell off. There was only a lady in the carriage, powerless to stop the frightened steeds dashing on to death. As she approached I was electrified. Something told me she was Bob's fiancée. A moment and I was charging the hunter under that tree. Jumping up out of the saddle, I clasped the solitary branch with both hands, and turning as an acrobat would on a trapeze, I hung by my legs, hands downwards, calling to the lady to clasp them. The fiery steeds and the oscillating carriage dashed under me—our hands met. With a superhuman effort I raised the fainting fairy form out of the vehicle as it passed like a whirlwind. The next moment horses and carriage were being dashed to pieces on the rocks below. Under our united weight the branch of the tree broke, and we fell unhurt on the moss-covered path. When the eyes of the fair lady opened to gaze upon her deliverer, I started as if shot. She sprang to her feet. 'Reginald!' she cried. 'Is it you?'
FROM A SKETCH BY HERBERT
JOHNSON.
"She was my first love. We had not seen each other for years! Thanks. I'll have some more brandy. Hot this time, with some sugar, please."
The following week The London Library appeared. I bought it, and read "The Duke's Oak," all about Lord Briarrose and Lady Betty Buttercup and the runaway horses. The tree with the one branch gave the title to the story, and the Dashing Duke of Broadacres was the aristocratic acrobat—my friend the author!
The Savage Club is a remnant of Bohemian London. It was started at a period when art, literature, and the drama were at their lowest ebb—in the "good old days" when artists wore seedy velveteen coats, smoked clays, and generally had their works of art exhibited in pawnbrokers' windows; when journalists were paid at the same rate and received the same treatment as office-boys; and when actors commanded as many shillings a week as they do pounds at present. This typical trio now exists only in the imagination of the lady novelist. When first the little band of Savages met they smoked their calumets over a public-house in the vicinity of Drury Lane, in a room with a sanded floor; a chop and a pint of ale was their fare, and good-fellowship atoned for lack of funds. The Brothers Brough, Andrew Halliday, Tom Robertson, and other clever men were the original Savages, and the latter in one of his charming pieces made capital out of an incident at the Club. One member asks another for a few shillings. "Very sorry, old chap, I haven't got it, but I'll ask Smith." Smith replies, "Not a cent myself, but I'll ask Brown." Brown asks Robinson, and so on until a Crœsus is found with five shillings in his pocket, which he is only too willing to lend. But this true Bohemianism is as dead as Queen Anne, and the Savages now live merely on the traditions of the past. His Majesty the King, when Prince of Wales, was a member of the Club, and an Earl takes the chair and entertains my Lord Mayor with his flunkeys and all. The Club is now as much advertised as the Imperial Institute, but the true old flavour is no more. No doubt some excellent men and good fellows are still in the Savage wigwam. Some Bohemians—a sprinkling of those Micawbers, "waiting for something to turn up"—keep up its reputation, but in reality it is