Guy Thorne - The Drunkard

The luxurious car rolled away from the Citadel of Death and Shadows – down the hill into London and into Life.

The man within it was thinking deeply, sorting out and tabulating his impressions, sifting the irrelevant from what was of value, and making a précis of what he had gained.

There were a dozen minor notes to be made in his book when he reached home. The changing quality of the man's voice, the ebb and flow of uncontrolled emotion, the latent fear – "I must be present at the post mortem to-morrow," he said to himself as a new idea struck him. "There should be much to be learnt from an examination of the Peripheral Nerves. And the brain too – there will be interesting indications in the cerebellum, and the association fibres." ..

The carriage swung again into the familiar parts of town. As he looked out of the windows at the lights and movement, Morton Sims forgot the purely scientific side of thought. The kindly human side of him reasserted itself.

How infinitely sad it was! How deep the underlying horror of this sordid life-tragedy at the close of which he had been assisting!

Who should say, who could define, the true responsibility of the man they were killing up there on the North London Hill?

Predisposition to Alcohol, Reversion, Heredity! – was not the drunken old solicitor, long since dust, the true murderer of the gentle-mannered girl in Hackney?

Lothian , the father of Gilbert Lothian the poet! the poet who certainly knew nothing of what was being done to the young man in the prison, who had probably never heard of his existence even.

The "Fiend Alcohol" at work once more, planting ghastly growths behind the scutcheons of every family!

A cunning murderer with a poisoned mind and body on one side, the brilliant young poet in the sunlight of success and high approbation upon the other!

Mystery of mysteries that God should allow so foul a thing to dominate and tangle the fair threads and delicate tissues of life!

"Well, that's that!" said the doctor, in a phrase he was fond of using when he dosed an episode in his mind. "I'll make my notes on Hancock's case and forget it until I find it necessary to use them in my work. And I'll lock up the poems Moultrie has sent me and I won't look at the book again for a month. Then I shall be able to read the verses for themselves and without any arrière-penseé.

"But, I wonder .. ?"

The brougham stopped at the doctor's house in Russell Square.

It was a warm night in July when Mr. Amberley, the publisher, entertained a few friends at dinner to meet Gilbert Lothian, the poet.

Although the evening was extremely sultry and the houses of the West End were radiating the heat which they had stored up from the sun-rays during the day, Mr. Amberley's dining room was deliciously cool.

The house was one of those roomy old-fashioned places still to be found unspoiled in Bryanstone Square, and the dining room, especially, was notable. It was on the first floor, over-looking the square, a long and lofty room with a magnificent waggon-roof which was the envy of every one who saw it, and gave the place extraordinary distinction.

The walls were panelled with oak, which had been stained a curious green, that was not olive nor ash-green but partook of both – the veritable colour, indeed, of the grey-green olive trees that one sees on some terrace of the Italian Alps at dawn.

The pictures were very few, considering the size of the room, and they were all quite modern – "In the movement" – as shrewd Mr. Amberley was himself.

A portrait of Mrs. Amberley by William Nicholson, which was quite famous in its way, displayed all the severe pregnancy and almost solemn reserve of this painter. There was a pastel of Prydes' which showed – rather suggested – a squalid room in which a gentleman of 1800, with a flavour of Robert Macaire about him, stood in the full rays of the wine and honey-coloured light of an afternoon sun.

Upon yet another panel was a painting upon silk by Charles Conder, inspired of course, by Watteau, informed by that sad and haunting catching after a fairyland never quite reached, which is the distinctive note of Conder's style, and which might well have served for an illustration to a grotesque fantasy of Heine.

Mrs. Amberley loved this painting. She had a Pater-like faculty of reading into – or from – a picture, something which the artist never thought about at all, and she used to call this little masterpiece "An Ode of Horace in Patch, Powder and Peruque!" She adored these perfectly painted little snuff-box deities who wandered through shadowy mists of amethyst and rouge-de-fer in a fantastic wood.

It is extremely interesting to discover, know of, or to sit at ease in a room which, in its way, is historic, and this is what the Amberleys' guests always felt, and were meant to feel.

In its present form, and with its actual decorations, this celebrated room only dated from some fifteen years back. The Waggon-roof alone remained unaltered from its earlier periods.

The Publishing house of Ince and Amberley had been a bulwark of the Victorian era, and not without some growing celebrity in the earlier Georgian Period.

Lord Byron had spoken well of the young firm once, Rogers was believed to have advanced them money, and when that eminent Cornish pugilist "The Lamorna Cove" wrote his reminiscences they were published by Ince and Amberley, while old Lord Alvanley himself contributed a preface.

From small beginnings came great things. The firm grew and acquired a status, and about this time, or possibly a little later, the dining-room at Bryanstone Square had come into being.

Its walls were not panelled then in delicate green. They were covered with rich plum-coloured paper festooned by roses of high-gilt. In the pictures, with their heavy frames of gold, the dogs and stags of Landseer were let loose, or the sly sleek gipsies of Mr. Frith told rustic fortunes beneath the spreading chestnut trees.

But Browning had dined there – in the later times – an inextinguishable fire just covered with a sprinkling of grey ash. With solemn ritual, Charles Dickens had brewed milk punch in an old bowl of Lowestoft china, still preserved in the drawing-room. The young Robert Cecil, in his early Saturday Review days, had cracked his walnuts and sipped his "pint of port" with little thought of the high destiny to which he should come, and Alfred Tennyson, then Bohemian and unknown, had been allowed to vent that grim philosophy which is the reaction of all imaginative and sensitive natures against the seeming impossibility of success and being understood.

The traditions of Ince and Amberley – its dignified and quiet home was in Hanover Square – had always been preserved.

Its policy, at the same time, had continually altered with the passage of years and the change of the public taste. Yet, so carefully, and indeed so genuinely, had this been accomplished that none of the historic prestige of the business had been lost. It still stood as a bulwark of the old dignified age. A young modern author, whatever his new celebrity, felt that to be published by Ince and Amberley hall-marked him as it were.

Younger firms, greedy of his momentary notoriety, might offer him better terms – and generally did – but Ince and Amberley conferred the Accolade!

He was admitted to the Dining Room.

John Amberley (the Inces had long since disappeared), at fifty was a great publisher, and a charming man of the world. He was one of the personalities of London, carrying out what heredity and natural aptitude had fitted him to do, and was this evening entertaining some literary personages of the day in the famous Dining Room.