"You certainly seem to have a grip of the sea. Have you ever seen it?"
"When I was a little chap I went to Brighton once; we used to live in
Coventry, though, before we came to London. I never saw it,
"'When descends on the Atlantic
The gigantic
Storm-wind of the Equinox.'"
He shook me by the shoulder to make me understand the passion that was
shaking himself.
"When that storm comes," he continued, "I think that all the oars in the
ship that I was talking about get broken, and the rowers have their chests
smashed in by the bucking oar-heads. By the way, have you done anything
with that notion of mine yet?"
"No. I was waiting to hear more of it from you. Tell me how in the world
you're so certain about the fittings of the ship. You know nothing of
ships."
"I don't know. It's as real as anything to me until I try to write it
down. I was thinking about it only last night in bed, after you had loaned
me 'Treasure Island'; and I made up a whole lot of new things to go into
the story."
"What sort of things?"
"About the food the men ate; rotten figs and black beans and wine in a
skin bag, passed from bench to bench."
"Was the ship built so long ago as _that_?"
"As what? I don't know whether it was long ago or not. It's only a notion,
but sometimes it seems just as real as if it was true. Do I bother you
with talking about it?"
"Not in the least. Did you make up anything else?"
"Yes, but it's nonsense." Charlie flushed a little.
"Never mind; let's hear about it."
"Well, I was thinking over the story, and after awhile I got out of bed
and wrote down on a piece of paper the sort of stuff the men might be
supposed to scratch on their oars with the edges of their handcuffs. It
seemed to make the thing more lifelike. It _is_ so real to me, y'know."
"Have you the paper on you?"
"Ye-es, but what's the use of showing it? It's only a lot of scratches.
All the same, we might have 'em reproduced in the book on the front page."
"I'll attend to those details. Show me what your men wrote."
He pulled out of his pocket a sheet of note-paper, with a single line of
scratches upon it, and I put this carefully away.
"What is it supposed to mean in English?" I said.
"Oh, I don't know. Perhaps it means 'I'm beastly tired.' It's great
nonsense," he repeated, "but all those men in the ship seem as real as
people to me. Do do something to the notion soon; I should like to see it
written and printed."
"But all you've told me would make a long book."
"Make it then. You've only to sit down and write it out."
"Give me a little time. Have you any more notions?"
"Not just now. I'm reading all the books I've bought. They're splendid."
When he had left I looked at the sheet of note-paper with the inscription
upon it. Then I took my head tenderly between both hands, to make certain
that it was not coming off or turning round. Then ... but there seemed to
be no interval between quitting my rooms and finding myself arguing with a
policeman outside a door marked _Private_ in a corridor of the British
Museum. All I demanded, as politely as possible, was "the Greek antiquity
man." The policeman knew nothing except the rules of the Museum, and it
became necessary to forage through all the houses and offices inside the
gates. An elderly gentleman called away from his lunch put an end to my
search by holding the note-paper between finger and thumb and sniffing at
it scornfully.
"What does this mean? H'mm," said he. "So far as I can ascertain it is an
attempt to write extremely corrupt Greek on the part"--here he glared at
me with intention--"of an extremely illiterate--ah--person." He read
slowly from the paper, "_Pollock, Erckmann, Tauchnitz, Henniker_"--four
names familiar to me.
"Can you tell me what the corruption is supposed to mean--the gist of the
thing?" I asked.
"I have been--many times--overcome with weariness in this particular
employment. That is the meaning." He returned me the paper, and I fled
without a word of thanks, explanation, or apology.
I might have been excused for forgetting much. To me of all men had been
given the chance to write the most marvelous tale in the world, nothing
less than the story of a Greek galley-slave, as told by himself. Small
wonder that his dreaming had seemed real to Charlie. The Fates that are so
careful to shut the doors of each successive life behind us had, in this
case, been neglectful, and Charlie was looking, though that he did not
know, where never man had been permitted to look with full knowledge since
Time began. Above all, he was absolutely ignorant of the knowledge sold to
me for five pounds; and he would retain that ignorance, for bank-clerks do
not understand metempsychosis, and a sound commercial education does not
include Greek. He would supply me--here I capered among the dumb gods of
Egypt and laughed in their battered faces--with material to make my tale
sure--so sure that the world would hail it as an impudent and vamped
fiction. And I--I alone would know that it was absolutely and literally
true. I--I alone held this jewel to my hand for the cutting and polishing.
Therefore I danced again among the gods till a policeman saw me and took
steps in my direction.
It remained now only to encourage Charlie to talk, and here there was no
difficulty. But I had forgotten those accursed books of poetry. He came to
me time after time, as useless as a surcharged phonograph--drunk on Byron,
Shelley, or Keats. Knowing now what the boy had been in his past lives,
and desperately anxious not to lose one word of his babble, I could not
hide from him my respect and interest. He misconstrued both into respect
for the present soul of Charlie Mears, to whom life was as new as it was
to Adam, and interest in his readings; and stretched my patience to
breaking point by reciting poetry--not his own now, but that of others. I
wished every English poet blotted out of the memory of mankind. I
blasphemed the mightiest names of song because they had drawn Charlie from
the path of direct narrative, and would, later, spur him to imitate them;
but I choked down my impatience until the first flood of enthusiasm should
have spent itself and the boy returned to his dreams.
"What's the use of my telling you what _I_ think, when these chaps wrote
things for the angels to read?" he growled, one evening. "Why don't you
write something like theirs?"
"I don't think you're treating me quite fairly," I said, speaking under
strong restraint.
"I've given you the story," he said, shortly, replunging into "Lara."
"But I want the details."
"The things I make up about that damned ship that you call a galley?
They're quite easy. You can just make 'em up yourself. Turn up the gas a
little, I want to go on reading."
I could have broken the gas globe over his head for his amazing stupidity.
I could indeed make up things for myself did I only know what Charlie did
not know that he knew. But since the doors were shut behind me I could
only wait his youthful pleasure and strive to keep him in good temper. One
minute's want of guard might spoil a priceless revelation; now and again
he would toss his books aside--he kept them in my rooms, for his mother
would have been shocked at the waste of good money had she seen them--and
launched into his sea dreams. Again I cursed all the poets of England. The
plastic mind of the bank-clerk had been overlaid, colored and distorted by
that which he had read, and the result as delivered was a confused tangle
of other voices most like the muttered song through a City telephone in
the busiest part of the day.
He talked of the galley--his own galley had he but known it--with
illustrations borrowed from the "Bride of Abydos." He pointed the
experiences of his hero with quotations from "The Corsair," and threw in
deep and desperate moral reflections from "Cain" and "Manfred," expecting
me to use them all. Only when the talk turned on Longfellow were the
jarring cross-currents dumb, and I knew that Charlie was speaking the
truth as he remembered it.
"What do you think of this?" I said one evening, as soon as I understood
the medium in which his memory worked best, and, before he could
expostulate, read him the whole of "The Saga of King Olaf!"
He listened open-mouthed, flushed, his hands drumming on the back of the
sofa where he lay, till I came to the Song of Einar Tamberskelver and the
verse:
"Einar then, the arrow taking
From the loosened string,
Answered: 'That was Norway breaking
'Neath thy hand, O King.'"
He gasped with pure delight of sound.
"That's better than Byron, a little," I ventured.
"Better? Why it's _true!_ How could he have known?"