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IV THE SOANE HOGARTHS 277

V GREENWICH HOSPITAL 281

VI KEW IN APRIL 285

X CROWDS AND A BAD SAMARITAN 302

PAGE

LAURA RISES FOR THE DAY 44

LAURA COMBINES BREAKFAST AND PHILANTHROPY 84

LAURA'S MUSIC LESSON 96

LAURA VISITS THE SICK 140

LAURA DANCES TO HER MOTHER'S MUSIC 222

ADVENTURES AND ENTHUSIASMS

THE PERFECT GUEST

There are certain qualities that we all claim. We are probably wrong, of course, but we deceive ourselves into believing that, short as we may fall in other ways, we really can do this or that superlatively well. "I'll say this for myself," we remark, with an approving glance in the mirror, "at any rate I'm a good listener"; or, "Whatever I may not be, I'm a good host." These are things that may be asserted of oneself, by oneself, without undue conceit. "I pride myself on being a wit," a man may not say; or "I am not ashamed of being the handsomest man in London;" but no one resents the tone of those other arrogations, even if their truth is denied.

It is less common, although also unobjectionable, to hear people felicitate with themselves on being good guests. Indeed, I have lately met two or three who quite impenitently asserted the reverse; and I believe that I am of their company. Trying very hard to be good I can never lose sight of the fact that my host's house is not mine. Fixed customs must be surrendered, lateness must become punctuality, cigarette ends must not burn the mantelpiece, one misses one's own China tea. The bathroom is too far and other people use it. There is no hook for the strop. In short, to be a really good guest and at ease under alien roofs it is necessary, I suspect, to have no home ties of one's own; certainly to have no very tyrannical habits.

She answered, by return of post, The invitation of her host; She caught the train she said she would, And changed at junctions as she should; She brought a small and lightish box, And keys belonging to the locks. Food, rare and rich, she did not beg, But ate the boiled or scrambled egg; When offered lukewarm tea she drank it, And did not crave an extra blanket, Nor extra pillows for her head; She seemed to like the spare-room bed. She brought her own self-filling pen, And always went to bed at ten. She left no little things behind, But stories new and gossip kind.

Those verses seem to me to cover the ground, although one might want a change here and there. For example, would a little spice of malice in her anecdotage be so undesirable? And a little less meekness in the lady, who comes out rather as a poor relation, might do no harm. They also might emphasize the point that she was never indisposed, for it is an unpardonable offence in a guest to be ill; that she spent a great deal of time in writing letters ; and that on returning home she sat down and composed a "roofer" in the warmest possible terms. They might touch lightly but feelingly on her readiness not only to eat what was offered, and not to desire luxuries, but to refuse the rarities, such as, in recent times, bacon and butter and sugar. One would not, however, have one's guest a vegetarian, because that way distraction lies. If vegetarians ate vegetables all might be well, but they don't; they want made dishes of an exotic nature, or hostesses think they do, and then the cook gives notice. The verses might also refer to the perfect guest's easy flow of conversation when neighbouring bores call; and last--but how far from least!--they might note the genuine ring in her voice when she volunteers to do a little weeding.

But the lines, as far as they go, are comprehensive; their defect is that they deal with but one type--a woman visiting in the country. There is also to be considered the woman from the country visiting in town, who, to be perfect, must not insist too strongly on her own choice of play, must not pine inordinately for dances, and must not bring more frocks than her hostess can keep pace with. Mention of the hostess reminds me that it is by a hostess that the verses obviously were written, and that, as such, they leave apertures which the arrows of censure might penetrate if we were considering the perfect hostess too. For how could the poet, for all her epigrammatic conciseness, ever have given her exemplary friend the opportunity of drinking lukewarm tea? In any catalogue of the perfect hostess's virtues a very high place must be reserved for that watchfulness over the teapot and the bell that prevents such a possibility. And the perfect hostess is careful, by providing extra blankets, to make craving for more unnecessary. She also places by the bed biscuits, matches, and a volume either of O. Henry or "Saki," or both.

THE SPARROWS' FRIEND

We did well to see him as often as we could, for he is now no more; he died in 1918.

For some time the old man had been missing from his accustomed haunts, through blindness, and Death found him at his home at Chandon-Lagache, in the midst of the composition of rhymes about his little friends, which had long been his hobby, and took him quite peacefully.

Latterly he sold a postcard now and then, with himself photographed on it amid verses and birds; but that was a mere side issue. Often strangers would engage him in conversation, and he would reply with the ready irony of France; but he displayed little interest. His heart was with those others. One felt that the more he saw of men the more he liked sparrows.

THE GOLDEN EAGLE

So much for prelude.

It is a hard thing to be credited with power that one does not possess and have to disappoint a simple soul who is relying on one's help. That is a general proposition, but I was reminded of the Golden Eagle and a particular application of it by the remark which some one dropped the other day about Baedeker. "Shall those of us who have kept our Baedekers have the courage to carry them?" she asked; and instantly my mind flew to a certain Italian city and the host of the Aquila d'Oro.

Although there were other people staying under his roof, and they had better rooms than I and drank a better wine, it was I at whom he made this set. It was I for whom he waited and upon whom his great melancholy eyes rested so wistfully. For he was a Golden Eagle with a grievance, and I, in whose bedroom he had been asked to place a writing-table, I, who never went out without a note-book and who bought so many photographs, I, who so obviously was engaged in studying the city, no doubt for the purposes of a book, I it was who beyond question was in a position, by removing that grievance, to restore him to prosperity and placidity again.

And yet, four years ago, and all inexplicably, the star had gone from his hotel. It was monstrous, an outrage. Four years ago--without warning and for no cause.

When he had looked at the new edition of Baedeker which a visitor had left about and saw it, he could not believe his eyes. He had called his wife--every one: they were also incredulous. It was like a thunderbolt, and earthquake. After all their hard work too, their desire to please, their regular customers, so contented, who came again and again. Was not that the test--that they came again and again? Obviously then the guide-book was wrong, guilty of a wicked injustice.

What did he think could have happened? All he could suppose was that one of Herr Baedeker's agents, staying there incognito, had had some piece of bad fortune; some accident of the kitchen impossible to prevent, but isolated, had occurred and he had taken offence. But how unfair! No one should judge by a single lapse. So many rivals still with stars and he without!

Thus would the Golden Eagle complain, day after day, during my sojourn, always ending with the assurance that I would help him to get the star back, would I not?--I who had such influence.

And now there is to be, I suppose, a new system of guide-book astronomy. If the Golden Eagle has survived the War he may, in the eclipse of Baedeker, be more resigned to his lot: the substitute for that travelling companion may confer a star of his own. But I do not propose to stay with him in order to make sure.

A MORNING CALL

The card of invitation--for which I have to confess that, like a true social climber, I had to some extent angled--came at last, stating that my visit would be expected on the following day at noon precisely, and that evening dress was to be worn. As I did not receive it until late at night, and as some medals had to be bought and a carriage and pair hired, I was busy enough after breakfast. The medals were for distribution afterwards among certain intimates, and the carriage and pair was to convey my friend and me to the reception, because we wished to enter at the gate of honour, and if you would do this you must have two horses. A single horse, and you are deposited at the inferior door and have a long walk.

It was to one of the most famous buildings in the world that we are going--possibly the most famous--and the horses' hoofs had a brave resonance as they clattered swiftly over the stones, beneath archways, past sentries, and through spacious and venerable courtyards, to the foot of the famous stairway. After ascending to an ante-room, where colossal guards scrutinised us and splendid lackeys took our hat, we were shown into the reception-room, in the doorway of which an elderly gentleman in black with a black bag was talking with such animation to a major-domo that we had to interrupt them in order to pass.

In this reception-room, an apartment of some splendour, in which we were to meet our host, sufficient guests had already assembled to occupy most of the wall space--for that is how we were placed, in four lines with our backs to the walls. There were about ninety in all, I calculated, of whom many were priests and nuns and many were women, the rest youths, a few girls, and a very few civilian men. It needed only the swiftest glance to discern that my friend and I were the only ones who had complied with the regulation about evening dress. This, naturally, greatly increased our comfort, since we became at once the cynosure of every eye. In the centre of the room was a little knot of officials, including four or five soldiers, all chatting in low tones and occasionally glancing through the door opposite that by which we had entered, which gave upon a long corridor. So for some twenty minutes we waited, nervous and whispering, when suddenly the officials stiffened, the soldiers hurriedly fetched their rifles from the far corner , and the whole ninety of us sank on our knees as a little quick, dark man, dressed in white, entered the room.

To be on one's knees, in evening dress, at twenty past twelve in the day, facing a row of people, across a vast expanse of carpet, similarly kneeling, and being also a little self-conscious and hungry, is not conducive to minute observation; but I was able to notice that our host was alert and bird-like in his movements and had a searching, shrewd, and very rapid and embracive glance. Beneath his cassock one caught sight of elaborate slippers, and he wore a large and magnificent emerald ring.

As he was late he got briskly to work. Each person had to be noticed individually, but some had brought a little problem on which advice was needed; others required solace for the absent and afflicted; most, like myself, had medals of the saints which were to be made more efficacious; and three or four of the priests were accompanied by far from negligible or indigent old lady parishioners, to whom such an event as this would be the more memorable and valuable if a little conversation could be added. Hence, there was work before our host; but he performed his task with noticeable discretion. To me, whom at last he reached, he said nothing; but my friend, who is of the old persuasion, put to him the case of a dying youth and obtained sufficient assurance to be comforted. And all the while I could see the elderly gentleman in black with the black bag glancing round the walls from the doorway--his function, as I afterwards learned, being that of a doctor intent upon restoring to consciousness those who swoon under the immensity of this ceremony.

Having come to the last of his visitors, our host retired to the middle of the room and delivered a short address on the meaning of his blessing and the importance of rectitude. He then blessed us once again, collectively, and was gone, and we struggled to a vertical position, the elderly ladies finding the assistance of their attendant priests more than useful in this process.

THE TRUE WIZARD OF THE NORTH

It is no disrespect to the author of the Waverley Novels to say that the true Wizard of the North was born on a Sunday in 1805, in a cobbler's cottage at Odense, in Denmark, when Scott was thirty-four.

Hans Christian Andersen's father, a cobbler, was a thoughtful, original, and eccentric man--as cobblers have the chance to be. On the day that his little Hans was born, he sat by the bed-side and read to the child Holberg's "Comedies." It made no difference that the audience only cried. Later the father became his son's devoted slave and companion, reading to him the "Arabian Nights," constructing puppet theatres and other entertaining devices, and entrusting him with his peculiar views of the world and religion. The mother was, in the words of Mary Howitt, Hans Andersen's first English translator, "all heart"; from her perhaps came his instant readiness to feel with others, his overmastering sense of pity, his smiling tears, while from his father much of his odd humour and irony. But there was still another influence. Like a child of genius of our own race with whom Hans Andersen has not a little in common, Charles Lamb , the boy was much with his grandmother, his father's mother, a distressful gentlewoman who, having come upon evil days, lived in great poverty with an insane husband, a toy-maker, and kept the home together by acting as gardener to a lunatic asylum. To little Hans, who was often with her, she would tell stories of her own youth and that of her mother, who had done an extremely Andersenian thing--had run away from a rich home to marry a comedian.

Now and then Hans would accompany her to the asylum itself. "All such patients," he has written, in "The True Story of My Life," "as were harmless were permitted to go freely about the Court; they often came to us in the garden, and with curiosity and terror I listened to them and followed them about; nay, I even ventured so far as to go with the attendants to those who were raving mad.... Close beside the place where the leaves were burned the poor old women had their spinning room. I often went in there and was very soon a favourite.... I passed for a remarkably wise child who would not live long; and they rewarded my eloquence by telling me tales in return; and thus a world as rich as that of the 'Thousand and One Nights' was revealed to me. The stories told by these old ladies, and the insane figures which I saw around me in the asylum, operated in the meantime so powerfully upon me that when it grew dark I scarcely dared to go out of the house."

Here, given a sensitive, imaginative nature, we have material enough to build up much of the genius of Hans Christian Andersen. How could he have been very different from what he was, one asks, with such companions and surroundings in the most impressionable years--an embittered whimsical father, full of the "Arabian Nights," a mother "all heart," a grandmother all romantic memory, a mad, toy-making grandfather, and these wool-gathering old ladies inventing strange histories to amuse him? And, added to all this, circumstances of poverty to drive his thoughts inwards? Poets, it would almost seem, can be both made as well as born.

But the boy had still more luck; for he struck up an acquaintance, ripening into friendship, with a man who carried out play-bills, "and he gave me one every day. With this, I seated myself in a corner and imagined an entire play, according to the name of the piece and the characters in it. This was my first, unconscious poetizing." A little later a clergyman's widow gave the boy the freedom of her library , and there he first read Shakespeare: "I saw Hamlet's ghost, and lived upon the hearth with Lear. The more persons died in a play, the more interesting I thought it. At this time I wrote my first piece; it was nothing less than a tragedy, wherein, as a matter of course, everybody died. The subject of it I borrowed from an old song about Pyramus and Thisbe; but I had increased the incidents through a hermit and his son, who both loved Thisbe, and who both killed themselves when she died. Many speeches of the hermit were passages from the Bible, taken out of the Little catechism, especially from our duty to our neighbours." Later the boy wrote a drama with a king and queen in it, and, feeling himself at fault as to the language of courts, produced a German-French-English-and-Danish lexicon, and took a word out of each language to lend the royal speeches an air.

Hans Andersen's father dying when the boy was still young, the mother married again, and Hans was left even more to himself. He read and wrote and recited all day, so that it became generally understood that he was to be a poet; and as nothing is so absurd to the eyes of healthy normal boys as a poet, he was the victim of not a little ridicule. His mother's wish to apprentice him to a tailor precipitated his fate. Rather than that he would go, he declared, to Copenhagen and join the theatre. To deny her son anything was beyond her power; but she was happier about it after consulting a witch and receiving from the coffee-grounds and the cards the assurance that he would become a great man, and that in honour of him Odense would one day be illuminated. And so at the age of fourteen, with thirty shillings and a bundle of clothes, Hans Christian Andersen arrived in Copenhagen to seek his fortune.

On that day his childhood was over. Some one has said that nothing that really counts ever happens to us after the teens are reached, and it is more true than not. At Copenhagen, Hans Andersen, young as he was, forsook the world of fantasy and entered the world of fact. The dancer to whom he had an introduction laughed at him; he was repulsed from the theatre. For four or five years he starved and suffered. His singing and his passion for reciting, however, gained him a few friends to set against poverty and the ridicule which his earnest enthusiasm, uncouth lanky figure, and long nose brought him almost everywhere that he went. Among them were Weyse, the composer, Sibonia, the singer, and Guldborg, the poet, through whose interests the boy was able to take lessons in singing and dancing, and even to make his theatrical d?but in the chorus. It was the composition of a tragedy that decided his fate and made his fortune, for it came into the hands of Jonas Collin, director of the Royal Theatre, brought him the interest of that influential man, and led to the Royal Grant which sent the young author to the Latin School at Skagelse for a period of three years.

In 1829 he published his first characteristic work, the "Journey on Foot from Holm Canal to the East Point of Armager," a very youthful tissue of grotesque humour and impudence. A desultory year or two followed, when he wrote much and came in for a quite undue share of attack, which his sensitive nature began to construe as a death-warrant; and then, in 1833, again through Collin, a travelling grant of ?70 a year for two years was obtained for him from Frederick VI, and he set off for Paris. With that journey his true career began, the success of which was never to be chequered save by occasional fits of depression following upon hostile criticism. From Paris he went to Rome, where he met Thorwaldsen and wrote his first and best known novel, "The Improvisatore," an intense and fanciful story of Rome and the stage, marked by much tender charm, and, like the writer's mother, "all heart," in which an autobiographical thread is woven. The novel had an immediate success, and Hans Andersen suddenly found himself one of the leading Danish authors.

But not yet was his real work begun. His real work was the telling of fairy tales--or "Eventyr og Historier," as he called them--the first of which were published in a slender volume in 1835, a little after "The Improvisatore," under the title "Fairy Tales as Told to Children." Since in this book were "The Tinder Box," "Little Claus and Big Claus," "The Princess and the Pea," and "Little Ida's Flowers," it will be seen that Hans Andersen entered the arena fully armed. Next year came the second part, containing "Thumbelina," "The Travelling Companion," and "The Naughty Boy," and in 1837 a third part, with "The Little Mermaid" and "The Emperor's New Clothes." Hans Andersen himself, whose constant ambition was to write successfully for the stage, thought but little of these stories, which presented no difficulties to his pen. He preferred his novels, his poems, his travels; above all, he preferred his dramatic efforts; and yet it is by these tales that he lives and will ever live.

Hans Andersen now began to travel regularly every year and to write little personal memoirs of his adventures in a manner which in England to-day we associate with "E?then" and "An Inland Voyage." Wherever he went he made friends, and he was always willing--more, eager--to read his stories aloud: even in Germany, where, owing to his defective knowledge of the language, his audiences had difficulty in maintaining the cast of feature demanded by this most exacting of literary lions. In 1847 he was in London, much f?ted, the way having been paved by Mary Howitt's translation of his autobiography and of "The Improvisatore," and in 1857 he was here again, spending five weeks at Gad's Hill with Dickens , whom he revered and almost worshipped. Hans Andersen's Anglo-Saxon readers have always been very numerous and very appreciative, and in return he praised England and wrote "The Two Baronesses" in our tongue. Only a few months before his death he was gratified to receive a gift of books from the children of America.

His latter years were full of honour and comfort. He had many wealthy friends, including the Danish Royal Family, a substantial pension, and a considerable revenue from his work. In the summer he lived with the Melchiors at Rolighet; in winter in rooms in Copenhagen, dining with a different friend regularly each night of the week. His health was better than he liked to think it, and he was able almost to the end to indulge his passion for travel. He went often to the theatre, or, if unable to do so, had the play bill brought to his rooms, where, knowing every classic play by heart, he would follow its course in imagination, assisted by occasional visits from the performers. He never married, and, when once an early and not very serious attachment was forgotten, never seemed to wish it; but he liked to be liked by women. Indeed, he was normal enough to like to be liked by every one, and most of the unhappiness of which he was capable--even to a kind of self-torture--proceeded from the suspicion that he was unwelcome here and there. For in spite of his hard experience of the world, he continued a child to the end; a spoilt child, indeed, more than not, as men of genius often can be.

He lived to be seventy, and died peacefully on August 4, 1875. "Take care, above all things," he had once said when humorously discussing his funeral, "that you drill a little hole in my coffin, so that I may have a peep at all the pomp and ceremony, and see which of my good friends follow me to the grave and which do not." They were there, every one. He was followed to the grave by all Denmark.

It is, as I have said, by his fairy tales that Hans Andersen lives and will ever live. There he stands alone, supreme. As a whole, there is nothing like them. One man of genius or another has now and then done something a little in this or that Hans Andersen manner. Heine here and there in the "Reisebilder"; Lamb in "The Child Angel" and perhaps "Dream Children"; and one sees affinities to him occasionally in Sir James Barrie's work ; but Hans Andersen remains one of the most unique and fascinating minds in all literature. Nominally just entertainment for children, these "Eventyr og Historier" are a profound study of the human heart and a "criticism of life" beyond most poetry. And all the while they are stories for children too; for though Hans Andersen addresses both audiences, he never, save in a very few of the slighter satirical apologues, such as "The Collar" and "Soup from a Sausage Skewer," loses the younger. He had this double appeal in mind when, on a statue being raised in his honour at Copenhagen just before his death, showing him in the act of telling a tale to a cluster of children, he protested that it was not representative enough.

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