Guy Thorne - The Drunkard

"Well, I wasn't sure of course."

"I was, I know him so well. Gilbert's father was my father's solicitor – one of the old three bottle men. But when Gilbert collared number two just now I realised that it would be quite all right. You heard him with Mr. Amberley just now? Splendid!"

"Yes. And now suppose we go and see how he's getting on in the drawing room," said Herbert Toftrees with a curious note in his voice.

The boy mistook it for anxiety. "Oh, he'll be as right as rain, you'll find. It comes off and on in waves, you know," he said.

Toftrees looked at the youth with frank wonder. He spoke in the way of use and wont, as if he were saying nothing extraordinary – merely stating a fact.

The novelist was really shocked. Personally, he was the most temperate of men. He was homme du monde , of course. He touched upon life at other points than the decorous and above-board. He had known men, friends of his own, go down, down, down, through drink. But here, with these people, it was not the same. In Bohemia, in raffish literary clubs and the reprobate purlieus of Fleet Street, one expected this sort of thing and accepted it as part of the milieu .

Under the Waggon roof, at Amberley's house, where there were charming women, it was shocking; it was an outrage! And the frankness of this well-dressed and well-spoken youth was disgusting in its very simplicity and non-moral attitude. Toftrees had gathered something of the young man's past during dinner. Was this, then, what one learnt at Eton? The novelist was himself the son of a clergyman, a man of some family but bitter poor. He had been educated at a country grammar school. His wife was the youngest daughter of a Gloucestershire baronet, impoverished also.

Neither of them had enjoyed all that should have been theirs by virtue of their birth, and the fact had left a blank, a slight residuum of bitterness and envy which success and wealth could never quite smooth away.

"Well, it doesn't seem to trouble you much," he said.

Ingworth laughed. He was unconscious of his great indiscretion, frothy and young, entirely unaware that he was giving his friend and patron into possibly hostile hands and providing an opportunity for a dissection of which half London might hear.

"Gilbert's quite different from any one else," he said lightly. "He is a genius. Keats taking pepper before claret, don't you know! One must not measure him by ordinary standards."

"I suppose not," Toftrees answered drily, reflecting that among the disciples of a great man it was generally the Judas who wrote the biography – "Let's go to the drawing room."

As they went out, the mind of the novelist was working with excitement and heat. He himself was conscious of it and was surprised. His was an intellect rather like dry ice. Very little perturbed it as a rule, yet to-night he was stirred.

Wonder was predominant.

Physically, to begin with, it was extraordinary that more drink should sober a man who a moment before had been making exaggerated and half-maudlin confidences to a stranger – in common with most decent living people, Toftrees knew nothing of the pathology of poisoned men. And, then, that sobriety had been so profound! Clearly reasoned thought, an arresting but perfectly sane point of view, had been enunciated with lucidity and force of phrase.

Disgust, the keener since it was more than tinged by envy, mingled with the wonder.

So the high harmonies of "Surgit Amari" came out of the bottle after all! Toftrees himself had been deeply moved by the poems, and yet, he now imagined, the author was probably drunk when he wrote them! If only the world knew! – it ought to know. Blackguards who, for some reason or other, had been given angel voices should be put in the pillory for every one to see. Hypocrite! ..

Ingworth opened the door of the drawing room very quietly. Music had begun, and as he and Toftrees entered, Muriel Amberley was already half way through one of the preludes of Chopin.

Mrs. Amberley and Mrs. Toftrees were sitting close together and carrying on a vigorous, whispered conversation, despite the music. Mr. Amberley was by himself in a big arm-chair near the piano, and Lothian sat upon a settee of blue linen with Rita Wallace.

As he sank into a chair Toftrees glanced at Lothian.

The poet's face was unpleasant. When he had been talking to Amberley it had lighted up and had more than a hint of fineness. Now it was heavy again, veiled and coarsened. Lothian's head was nodding in time to the music. One well-shaped but rather red hand moved restlessly upon his knee. The man was struggling – Toftrees was certain of it – to appear as if the music was giving him intense pleasure. He was thinking about himself and how he looked to the other people in the room.

Drip, drip, drip! – it was the sad, graceful prelude in which the fall of rain is supposed to be suggested, the hot steady rain of the Mediterranean which had fallen at Majorca ever so many years ago and was falling now in sound, though he that caught its beauty was long since dust. Drip, drip! – and then the soft repetition which announced that the delicate and lovely vision had reached its close, that the august grey harmonies were over.

For a moment, there was silence in the drawing room.

Muriel's white fingers rested on the keys of the piano, the candles threw their light upwards upon the enigmatic maiden face. Her father sighed quietly – happily also as he looked at her – and the low buzz of Mrs. Amberley's and Mrs. Toftrees' talk became much more distinct.

Suddenly Gilbert Lothian jumped up from the settee. He hurried to the piano, his face flushed, his eyes liquid and bright.

It was consciously and theatrically done, an exaggeration of his bow in the dining room – not the right thing in the very least!

"Oh, thank you! Thank you! " he said in a high, fervent voice. "How wonderful that is! And you played it as Crouchmann plays it – the only interpretation! I know him quite well. We had supper together the other night after his concert, and he told me – no, that won't interest you. I'll tell you another time, remind me! Now, do play something else!"

He fumbled with the music upon the piano with tremulous and unsteady hands.

"Ah! here we are!" he cried, and there was an insistent note of familiarity in his voice. "The book of Valses! You know the twelfth of course? Tempo giusto! It goes like this .."

He began to hum, quite musically, and to wave his hands.

Muriel Amberley glanced quickly at her father and there was distress in her eyes.

Amberley was standing by the piano in a moment. He seemed very much master of himself, serene and dominant, by the side of Gilbert Lothian. His face was coldly civil and there was disgust in his eyes.

"I don't think my daughter will play any more, Mr. Lothian," he said.

An ugly look flashed out upon the poet's face, suspicion and realisation showed there for a second and passed.

He became nervous, embarrassed, almost pitiably apologetic. The savoir-faire which would have helped some men to take the rebuke entirely deserted him. There was something assiduous, almost vulgar, a frightened acceptance of the lash indeed, which immensely accentuated the sudden défaillance and break-down.

In the big drawing room no one spoke at all.

Then there was a sudden movement and stir. Gilbert Lothian was saying good-night.

He had remembered that he really had some work to do before going to bed, some letters to write, as a matter of fact. He was shaking hands with every one.

"I do hope that I shall have the pleasure of hearing you play some more Chopin before long, Miss Amberley! Thank you so much Mrs. Amberley – I'm going to write a poem about your beautiful Dining Room. I suppose we shall meet at the Authors' Club dinner on Saturday, Mr. Toftrees? – so interested to have met you at last."