The Splendid Spur Part 1

The Splendid Spur.

by Arthur T. Quiller Couch.

INTRODUCTORY NOTE.

"Q."

A year or two ago it was observed that three writers were using the curiously popular signature "Q." This was hardly less confusing than that one writer should use three signatures (Grant Allen, Arbuthnot Wilson, and Anon), but as none of the three was willing to try another letter, they had to leave it to the public (whose decision in such matters is final) to say who is Q to it. The public said, Let him wear this proud letter who can win it, and for the present at least it is in the possession of the author of "The Splendid Spur" and "The Blue Pavilions." It would seem, too, as if it were his "to keep," for "Q" is like the compet.i.tion cups that are only yours for a season, unless you manage to carry them three times in succession. Mr. Quiller-Couch has been champion Q since 1890.

The interesting question is not so much, What has he done to be the only prominent Q of these years, as Is he to be the Q of all time?

If so, he will do better work than he has yet done, though several of his latest sketches--and one in particular--are of very uncommon merit. Mr. Quiller-Couch is so unlike Mr. Kipling that one immediately wants to compare them. They are both young, and they have both shown such promise that it will be almost sad if neither can write a book to live--as, of course, neither has done as yet. Mr.

Kipling is the more audacious, which is probably a matter of training. He was brought up in India, where one's beard grows much quicker than at Oxford, and where you not only become a man (and a cynic) in a hurry, but see and hear strange things (and print them) such as the youth of Oxford miss, or, becoming acquainted with, would not dare insert in the local magazine of the moment. So Mr.

Kipling's first work betokened a knowledge of the world that is by no means to be found in "Dead Man's Rock," the first book published by Mr. Quiller-Couch. On the other hand, it cannot truly be said that Mr. Kipling's latest work is stronger than his first, while the other writer's growth is the most remarkable thing about him. It is precisely the same Mr. Kipling who is now in the magazines that was writing some years ago in India (and a rare good Mr. Kipling too), but the Mr. Quiller-Couch of to-day is the Quiller-Couch of "Dead Man's Rock" grown out of recognition. To compare their styles is really to compare the men. Mr. Kipling's is the more startling, the stronger (as yet), and the more mannered. Mark Twain, it appears, said he reads Mr. Kipling for his style, which is really the same thing as saying you read him for his books, though the American seems only to have meant that he eats the beef because he likes the salt. It is a journalistic style, aiming too constantly at sharp effects, always succeeding in getting them. Sometimes this is contrived at the expense of grammar, as when (a common trick with the author) he ends a story with such a paragraph as "Which is manifestly unfair." Mr. Quiller-Couch has never sinned in this way, but his first style was somewhat turgid, even melodramatic, and, compared with Mr. Kipling's, lacked distinction. From the beginning Mr. Kipling had the genius for using the right word twice in three times (Mr. Stevenson only misses it about once in twelve), while Mr.

Quiller-Couch not only used the wrong word, but weighted it with adjectives. The charge, however, cannot be brought against him to-day, for having begun by writing like a Mr. Haggard not quite sure of himself (if one can imagine such a Mr. Haggard), and changing to an obvious imitation of Mr. Stevenson, he seems now to have made a style for himself. It is clear and careful, but not as yet strong winged. Its distinctive feature is that it is curiously musical.

"Dead Man's Rock" is a capital sensational story to be read and at once forgotten. It was followed by "The Astonis.h.i.+ng History of Troy Town," which was humorous, and proved that the author owed a debt to d.i.c.kens. But it was not sufficiently humorous to be remarkable for its humor, and it will go hand in hand with "Dead Man's Rock" to oblivion. Until "The Splendid Spur" appeared Mr. Quiller-Couch had done little to suggest that an artist had joined the ranks of the story-tellers. It is not in anyway a great work, but it was among the best dozen novels of its year, and as the production of a new writer it was one of the most notable. About the same time was published another historical romance of the second cla.s.s (for to nothing short of Sir Walter shall we give a first-cla.s.s in this department), "Micah Clarke," by Mr. Conan Doyle. It was as inevitable that the two books should be compared as that he who enjoyed the one should enjoy the other. In one respect "Micah Clarke" is the better story. It contains one character, a soldier of fortune, who is more memorable than any single figure in "The Splendid Spur." This, however, is effected at a cost, for this man is the book. It contains, indeed, two young fellows, one of them a John Ridd, but no Diana Vernon would blow a kiss to either. Both stories are weak in pathos, despite Joan, but there are a score of humorous situations in "The Splendid Spur" that one could not forget if he would--which he would not--as, for instance, where hero and heroine are hidden in barrels in a s.h.i.+p, and hero cries through his bunghole, "Wilt marry me, sweetheart?" to which heroine replies, "Must get out of this cask first." Better still is the scene in which Captain Billy expatiates, with a mop and a bucket, on the merits of his crew. But the pa.s.sages are for reading, not for hearing about. Of the characters, this same Captain Billy is not the worst, but perhaps the best is Joan, Mr. Quiller-Couch's first successful picture of a girl. A capital eccentric figure is killed (some good things are squandered in this book) just when we are beginning to find him a genuine novelty. Anything that is ready to leap into danger seems to be thought good enough for the hero of a fighting romance, so that Jack Marvel will pa.s.s (though Delia, as is right and proper, is worth two of him, despite her coming-on disposition). The villain is a failure, and the plot poor.

Nevertheless there are some ingenious complications in it. Jack's escape by means of the hangman's rope, which was to send him out of the world in a few hours, is a fine rollicking bit of sensation.

Where Mr. Quiller-Couch and Mr. Conan Doyle both fail as compared with the great master of romance is in the introduction of historical figures and episodes. Scott would have been a great man if he had written no novel but "The Abbott" (one of his second best), and no part of "The Abbott" but the scene in which Mary signs away her crown. Mr. Quiller-Couch almost entirely avoids such attempts, and even Mr. Conan Doyle only dips into them timidly. There is, one has been told, a theory that the romancist has no right to picture history in this way. But he makes his rights when he does it as Scott did it.

Since "The Splendid Spur," Mr. Quiller-Couch has published nothing in book form which can be considered an advance on his best novel, but there have appeared by him a number of short Cornish sketches, which are perhaps best considered as experiments. They are perilously slight, and where they are successful one remembers them as sweet dreams or like a bar of music. All aim at this effect, so that many should not be taken at a time, and some (as was to be expected with such delicate work) miss their mark. It might be said that in several of these melodies Mr. Quiller-Couch has been writing the same thing again and again, determined to succeed absolutely, if not this time then the next, and if not the next time then the time after. In one case he has succeeded absolutely. "The Small People,"

is a prose "Song of the s.h.i.+rt." To my mind this is a rare piece of work, and the biggest thing for its size that has been done in English fiction for some years.

These sketches have been called experiments. They show (as his books scarcely show) that Mr. Quiller-Couch can feel. They suggest that he may be able to do for Cornwall what Mr. Hardy has done for Dorset-- though the methods of the two writers are as unlike as their counties. But that can only be if in filling his notebook with these little comedies and tragedies Mr. Quiller-Couch is preparing for more sustained efforts.

"Our hope and heart is with thee We will stand and mark."

J. M. BARRIE.

THE SPLENDID SPUR.

CHAPTER I.

THE BOWLING-GREEN OF THE "CROWN."

He that has jilted the Muse, forsaking her gentle pipe to follow the drum and trumpet, shall fruitlessly besiege her again when the time comes to sit at home and write down his adventures. 'Tis her revenge, as I am extremely sensible: and methinks she is the harder to me, upon reflection how near I came to being her lifelong servant, as you are to hear.

'Twas on November 29th, Ao. 1642--a clear, frosty day--that the King, with the Prince of Wales (newly recovered of the measles), the Princes Rupert and Maurice, and a great company of lords and gentlemen, horse and foot, came marching back to us from Reading. I was a scholar of Trinity College in Oxford at that time, and may begin my history at three o'clock on the same afternoon, when going (as my custom was) to Mr. Rob. Drury for my fencing lesson, I found his lodgings empty.

They stood at the corner of s.h.i.+p Street, as you turn into the Corn Market--a low wainscoted chamber, ill-lighted but commodious. "He is off to see the show," thought I as I looked about me; and finding an easy cus.h.i.+on in the window, sat down to await him. Where presently, being tired out (for I had been carrying a halberd all day with the scholars' troop in Magdalen College Grove), and in despite of the open lattice, I fell sound asleep.

It must have been an hour after that I awoke with a chill (as was natural), and was stretching out a hand to pull the window close, but suddenly sat down again and fell to watching instead.

The window look'd down, at the height of ten feet or so, upon a bowling-green at the back of the "Crown" Tavern (kept by John Davenant, in the Corn Market), and across it to a rambling wing of the same inn; the fourth side--that to my left--being but an old wall, with a broad sycamore growing against it. 'Twas already twilight; and in the dark'ning house, over the green, was now one cas.e.m.e.nt brightly lit, the curtains undrawn, and within a company of noisy drinkers round a table. They were gaming, as was easily told by their clicking of the dice and frequent oaths: and anon the bellow of some tipsy chorus would come across. 'Twas one of these catches, I dare say, that woke me: only just now my eyes were bent, not toward the singers, but on the still lawn between us.

The sycamore, I have hinted, was a broad tree, and must, in summer, have borne a goodly load of leaves: but now, in November, these were strewn thick over the green, and nothing left but stiff, naked boughs. Beneath it lay a crack'd bowl or two on the rank turf, and against the trunk a garden bench rested, I suppose for the convenience of the players. On this a man was now seated.

He was reading in a little book; and this first jogged my curiosity: for 'twas unnatural a man should read print at this dim hour, or, if he had a mind to try, should choose a cold bowling-green for his purpose. Yet he seemed to study his volume very attentively, but with a sharp look, now and then, toward the lighted window, as if the revellers disturb'd him. His back was partly turn'd to me; and what with this and the growing dusk, I could but make a guess at his face: but a plenty of silver hair fell over his fur collar, and his shoulders were bent a great deal. I judged him between fifty and sixty. For the rest, he wore a dark, simple suit, very straitly cut, with an ample furr'd cloak, and a hat rather tall, after the fas.h.i.+on of the last reign.

Now, why the man's behavior so engaged me, I don't know: but at the end of half an hour I was still watching him. By this, 'twas near dark, bitter cold, and his pretence to read mere fondness: yet he persevered--though with longer glances at the cas.e.m.e.nt above, where the din at times was fit to wake the dead.

And now one of the dicers upsets his chair with a curse, and gets on his feet. Looking up, I saw his features for a moment--a slight, pretty boy, scarce above eighteen, with fair curls and flush'd cheeks like a girl's. It made me admire to see him in this ring of purple, villainous faces. 'Twas evident he was a young gentleman of quality, as well by his bearing as his handsome cloak of amber satin barr'd with black. "I think the devil's in these dice!" I heard him crying, and a pretty hubbub all about him: but presently the drawer enters with more wine, and he sits down quietly to a fresh game.

As soon as 'twas started, one of the crew, that had been playing but was now dropp'd out, lounges up from his seat, and coming to the cas.e.m.e.nt pushes it open for fresh air. He was one that till now had sat in full view--a tall bully, with a gross pimpled nose; and led the catches in a bull's voice. The rest of the players paid no heed to his rising; and very soon his shoulders hid them, as he lean'd out, drawing in the cold breath.

During the late racket I had forgot for a while my friend under the sycamore, but now, looking that way, to my astonishment I saw him risen from his bench and stealing across to the house opposite. I say "stealing," for he kept all the way to the darker shadow of the wall, and besides had a curious trailing motion with his left foot as though the ankle of it had been wrung or badly hurt.

As soon as he was come beneath the window he stopped and called softly--

"Hist!"

The bully gave a start and look'd down. I could tell by this motion he did not look to find anyone in the bowling-green at that hour.

Indeed he had been watching the shaft of light thrown past him by the room behind, and now moved so as to let it fall on the man that addressed him.

The other stands close under the window, as if to avoid this, and calls again--

"Hist!" says he, and beckons with a finger.

The man at the window still held his tongue (I suppose because those in the room would hear him if he spoke), and so for a while the two men studied one another in silence, as if considering their next moves.

After a bit, however, the bully lifted a hand, and turning back into the lighted room, walks up to one of the players, speaks a word or two and disappears.

I sat up on the window seat, where till now I had been crouching for fear the shaft of light should betray me, and presently (as I was expecting) heard the latch of the back perch gently lifted, and spied the heavy form of the bully coming softly over the gra.s.s.

Now, I would not have my readers prejudiced, and so may tell them this was the first time in my life I had played the eavesdropper.

That I did so now I can never be glad enough, but 'tis true, nevertheless, my conscience p.r.i.c.ked me; and I was even making a motion to withdraw when that occurred which would have fixed any man's attention, whether he wish'd it or no.

The bully must have closed the door behind him but carelessly, for hardly could he take a dozen steps when it opened again with a scuffle, and the large house dog belonging to the "Crown" flew at his heels with a vicious snarl and snap of the teeth.

'Twas enough to scare the coolest. But the fellow turn'd as if shot, and before he could snap again, had gripped him fairly by the throat.

The struggle that follow'd I could barely see, but I heard the horrible sounds of it--the hard, short breathing of the man, the hoa.r.s.e rage working in the dog's throat--and it turned me sick. The dog--a mastiff--was fighting now to pull loose, and the pair swayed this way and that in the dusk, panting and murderous.

I was almost shouting aloud--feeling as though 'twere my own throat thus gripp'd--when the end came. The man had his legs planted well apart.

I saw his shoulders heave up and bend as he tightened the pressure of his fingers; then came a moment's dead silence, then a hideous gurgle, and the mastiff dropped back, his hind legs trailing limp.

The bully held him so for a full minute, peering close to make sure he was dead, and then without loosening his hold, dragged him across the gra.s.s under my window. By the sycamore he halted, but only to s.h.i.+ft his hands a little; and so, swaying on his hips, sent the carcase with a heave over the wall. I heard it drop with a thud on the far side.

During this fierce wrestle--which must have lasted about two minutes--the clatter and shouting of the company above had gone on without a break; and all this while the man with the white hair had rested quietly on one side, watching. But now he steps up to where the bully stood mopping his face (for all the coolness of the evening), and, with a finger between the leaves of his book, bows very politely.

"You handled that dog, sir, choicely well," says he, in a thin voice that seemed to have a chuckle hidden in it somewhere.

The other ceased mopping to get a good look at him.

"But sure," he went on, "'twas hard on the poor cur, that had never heard of Captain Lucius Higgs--"