Once a Week, A. A. Milne [little red riding hood ebook TXT] 📗

really have fifty fully matured ones of my own, there's nothing to prove it, and they are so suspicious in the City that they will never take my bare word. So I shall have to buy fifty new Jaguars for this man called Stevens—and buy them by the middle of next month.

And this is why I am still eagerly watching the price of Jaguars. Yesterday they were 5/8. I am hoping that[76] by the middle of next month they will be down to 1/2 again. But I find it difficult to remember sometimes which way I want them to go. This afternoon, for instance, when I saw they had risen to 11/16 I was quite excited for a moment; I went out and bought some cigars on the strength of it. Then I remembered; and I came home and almost decided to sell the pianola. It is very confusing. You must see how very confusing it is.

[77]

THE DOUBLE

I was having lunch in one of those places where you stand and eat sandwiches until you are tired, and then try to count up how many you have had. As the charm of these sandwiches is that they all taste exactly alike, it is difficult to recall each individual as it went down; one feels, too, after the last sandwich, that one's mind would more willingly dwell upon other matters. Personally I detest the whole business—the place, the sandwiches, the method of scoring—but it is convenient and quick, and I cannot keep away. On this afternoon I was giving the foie gras plate a turn. I know a man who will never touch foie gras because of the cruelty involved in the preparation of it. I excuse myself on the ground that my own sufferings in eating these sandwiches are much greater than those of any goose in providing them.

There was a grey-haired man in the corner who kept looking at me. I seemed to myself to be behaving with sufficient propriety, and there was nothing in my clothes or appearance to invite comment; for in the working quarter of London a high standard of beauty is not insisted upon. On the next occasion when I caught his eye I frowned at him, and a moment later I found myself trying to stare him down. After two minutes it was I who retired in confusion to my glass.

As I prepared to go—for to be watched at meals makes me nervous, and leads me sometimes to eat the card with "Foie Gras" on it in mistake for the sandwich—he came up to me and raised his hat.

"You must excuse me, sir, for staring at you," he[78] said, "but has any one ever told you that you are exactly like A. E. Barrett?"

I drew myself up and rested my left hand lightly on my hip. I thought he said David Garrick.

"The very image of him," he went on, "when first I met him."

Something told me that in spite of his grey hair he was not talking of David Garrick after all.

"Like who?" I said in some disappointment.

"A. E. Barrett."

I tried to think of a reply, both graceful and witty. The only one I could think of was, "Oh?"

"It's extraordinary. If your hair were just a little longer the likeness would be perfect."

I thought of offering to go away now and come back in a month's time. Anyway, it would be an excuse for going now.

"I first knew him at Cambridge," he explained. "We were up together in the 'seventies."

"Ah, I was up in the nineteen hundreds," I said. "I just missed you both."

"Well, didn't they ever tell you at Cambridge that you were the image of A. E. Barrett?"

I tried to think. They had told me lots of things at Cambridge, but I couldn't remember any talk about A. E. Barrett.

"I should have thought every one would have noticed it," he said.

I had something graceful for him this time all right.

"Probably," I said, "those who were unfortunate enough to know me had not the honour of knowing A. E. Barrett."

"But everybody knew A. E. Barrett. You've heard of him, of course?"

The dreadful moment had arrived. I knew it would.

"Of course," I said.

"A charming fellow."[79]

"Very brainy," I agreed.

"Well, just ask any of your artist friends if they don't notice the likeness. The nose, the eyes, the expression—wonderful! But I must be going. Perhaps I shall see you here again some day. Good afternoon"; and he raised his hat and left me.

You can understand that I was considerably disturbed. First, why had I never heard of A. E. Barrett? Secondly, what sort of looking fellow was he? Thirdly, with all this talk about A. E. Barrett, however many sandwiches had I eaten? The last question seemed the most impossible to answer, so I said "eight," to be on the safe side, and went back to work.

In the evening I called upon Peter. My acquaintance of the afternoon had assumed too readily that I should allow myself to be on friendly terms with artists; but Peter's wife illustrates books, and they both talk in a disparaging way of our greatest Academicians.

"Who," I began at once, as I shook hands, "did I remind you of as I came in at the door?"

Peter was silent. Mrs. Peter, feeling that some answer was called for, said, "The cat."

"No, no. Now I'll come in again." I went out and returned dramatically. "Now then, tell me frankly, doesn't that remind you of A. E. Barrett entering his studio?"

"Who is A. E. Barrett?"

I was amazed at their ignorance.

"He's the well-known artist. Surely you've heard of him?"

"I seem to know the name," lied Peter. "What did he paint?"

"'Sunrise on the Alps,' 'A Corner of the West,' 'The Long Day Wanes'—I don't know. Something. The usual thing."

"And are you supposed to be like him?"

"I am. Particularly when eating sandwiches."[80]

"Is it worth while getting you some, in order to observe the likeness?" asked Mrs. Peter.

"If you've never seen A. E. Barrett I fear you'd miss the likeness, even in the most favourable circumstances. Anyhow, you must have heard of him—dear old A. E.!"

They were utterly ignorant of him, so I sat down and told them what I knew; which, put shortly, was that he was a very remarkable-looking fellow.

I have not been to the sandwich-place since. Detesting the sandwiches as I do, I find A. E. Barrett a good excuse for keeping away. For, upon the day after that when he came into my life, I had a sudden cold fear that the thing was a plant. How, in what way, I cannot imagine. That I am to be sold a Guide to Cambridge at the next meeting; that an A. E. Barrett hair-restorer is about to be placed on the market; that an offer will be made to enlarge my photograph (or Barrett's) free of charge if I buy the frame—no, I cannot think what it can be.

Yet, after all, why should it be a plant? We Barretts are not the sort of men to be mixed up with fraud. Impetuous the Barrett type may be, obstinate, jealous—so much you see in our features. But dishonest? Never!

Still, as I did honestly detest those last eight sandwiches, I shall stay away.

[81]

A BREATH OF LIFE

This is the story of a comedy which nearly became a tragedy. In its way it is rather a pathetic story.

The comedy was called The Wooing of Winifred. It was written by an author whose name I forget; produced by the well-known and (as his press-agent has often told us) popular actor-manager, Mr. Levinski; and played by (among others) that very charming young man, Prosper Vane—known locally as Alfred Briggs until he took to the stage. Prosper played the young hero, Dick Seaton, who was actually wooing Winifred. Mr. Levinski himself took the part of a middle-aged man of the world with a slight embonpoint; down in the programme as Sir Geoffrey Throssell but fortunately still Mr. Levinski. His opening words, as he came on, were, "Ah, Dick, I have a note for you somewhere," which gave the audience an interval in which to welcome him, while he felt in all his pockets for the letter. One can bow quite easily while feeling in one's pockets, and it is much more natural than stopping in the middle of an important speech in order to acknowledge any cheers. The realization of this, by a dramatist, is what is called "stagecraft." In this case the audience could tell at once that the "technique" of the author (whose name unfortunately I forget) was going to be all right.

But perhaps I had better describe the whole play as shortly as possible. The theme—as one guessed from the title, even before the curtain rose—was the wooing of Winifred. In the First Act Dick proposed[82] to Winifred and was refused by her, not from lack of love, but for fear lest she might spoil his career, he being one of those big-hearted men with a hip-pocket to whom the open spaces of the world call loudly; whereupon Mr. Levinski took Winifred on one side and told the audience how, when he had been a young man, some good woman had refused him for a similar reason and had been miserable ever since. Accordingly in the Second Act Winifred withdrew her refusal and offered to marry Dick, who declined to take advantage of her offer for fear that she was willing to marry him from pity rather than from love; whereupon Mr. Levinski took Dick on one side and told the audience how, when he had been a young man, he had refused to marry some good woman (a different one) for a similar reason, and had been broken-hearted ever afterwards. In the Third Act it really seemed as though they were coming together at last; for at the beginning of it Mr. Levinski took them both aside and told the audience a parable about a butterfly and a snap-dragon, which was both pretty and helpful, and caused several middle-aged ladies in the first and second rows of the upper circle to say, "What a nice man Mr. Levinski must be at home, dear!"—the purport of the allegory being to show that both Dick and Winifred were being very silly, as indeed by this time everybody but the author was aware. Unfortunately at that moment a footman entered with a telegram for Miss Winifred, which announced that she had been left fifty thousand pounds by a dead uncle in Australia; and, although Mr. Levinski seized this fresh opportunity to tell the audience how in similar circumstances Pride, to his lasting remorse, had kept him and some good woman (a third one) apart, nevertheless Dick held back once more, for fear lest he should be thought to be marrying her for her money. The curtain comes down as he says, "Good-bye ... good ber-eye." But there is a Fourth Act,[83] and in the Fourth Act Mr. Levinski has a splendid time. He tells the audience two parables—one about a dahlia and a sheep, which I couldn't quite follow—and three reminiscences of life in India; he brings together finally and for ever these hesitating lovers; and, best of all, he has a magnificent love-scene of his own with a pretty widow, in which we see, for the first time in the play, how love should really be made—not boy-and-girl pretty-pretty love, but the deep emotion felt (and with occasional lapses of memory explained) by a middle-aged man with a slight embonpoint who has knocked about the world a bit and knows life. Mr. Levinski, I need not say, was at his best in this Act.

I met Prosper Vane at the club some ten days before the first night, and asked him how rehearsals were going.

"Oh, all right," he said. "But it's a rotten play. I've got such a dashed silly part."

"From what you told me," I said, "it sounded rather good."

"It's so dashed unnatural. For three whole acts this girl and I are in love with each other, and we know we're in love with each other, and yet we simply fool about. She's a dashed pretty girl, too, my boy. In real life I'd jolly soon——"

"My dear Alfred," I protested, "you're not going to fall in love with the girl you have to fall in love with on the stage? I thought actors never did that."

"They do sometimes; it's a dashed good advertisement. Anyway, it's a silly part, and I'm fed up with it."

"Yes, but do be reasonable. If Dick got engaged at once to Winifred what would happen to Levinski? He'd have nothing to do."[84]

Prosper Vane grunted. As he seemed disinclined for further conversation I left him.

The opening night came, and the usual distinguished and fashionable audience (including myself), such as habitually attends Mr. Levinski's first nights, settled down to enjoy itself. Two acts went well. At the end of each Mr. Levinski came before the curtain