Complete Works of Wilkie Collins (1482 page)

He jerked his head up directly, and looked at me. What plan?

“This: The state of your eyes prevents you for the present from following your profession as an artist, does it not? Very well. What are you to do with your idle time, my dear? Turn author! And how are you to get the money we want? By publishing a book!”

“Good gracious, Leah! are you out of your senses?” he exclaimed.

I put my arm round his neck and sat down on his knee (the course I always take when I want to persuade him to anything with as few words as possible).

“Now, William, listen patiently to me,” I said. “An artist lies under this great disadvantage in case of accidents — his talents are of no service to him unless he can use his eyes and fingers. An author, on the other hand, can turn his talents to account just as well by means of other people’s eyes and fingers as by means of his own. In your present situation, therefore, you have nothing for it, as I said before, but to turn author. Wait! and hear me out. The book I want you to make is a book of all your stories. You shall repeat them, and I will write them down from your dictation. Our manuscript shall be printed; we will sell the book to the public, and so support ourselves honourably in adversity, by doing the best we can to interest and amuse others.”

While I was saying all this — I suppose in a very excitable manner — my husband looked, as our young sailor-friend would phrase it, quite
taken aback.
“You were always quick at contriving, Leah,” he said; “but how in the world came you to think of this plan?”

“I thought of it while you were telling them the gambling-house adventure downstairs,” I answered.

“It is an ingenious idea, and a bold idea,” he went on, thoughtfully. “But it is one thing to tell a story to a circle of friends, and another thing to put it into a printed form for an audience of strangers. Consider, my dear, that we are neither of us used to what is called writing for the press.”

“Very true,” said I, “but nobody is used to it when they first begin, and yet plenty of people have tried the hazardous literary experiment successfully. Besides, in our case, we have the materials ready to our hands; surely we can succeed in shaping them presentably if we aim at nothing but the simple truth.”

“Who is to do the eloquent descriptions and the striking reflections, and all that part of it?” said William, perplexedly shaking his head.

“Nobody!” I replied. “The eloquent descriptions and the striking reflections are just the parts of a story-book that people never read. Whatever we do, let us not, if we can possibly help it, write so much as a single sentence that can be conveniently skipped. Come! come!” I continued, seeing him begin to shake his head again; “no more objections, William, I am too certain of the success of my plan to endure them. If you still doubt, let us refer the new project to a competent arbitrator. The doctor is coming to see you to-morrow. I will tell him all that I have told you; and if you will promise on your side, I will engage on mine to be guided entirely by his opinion.”

William smiled, and readily gave the promise. This was all I wanted to send me to bed in the best spirits. For, of course, I should never have thought of mentioning the doctor as an arbitrator, if I had not known beforehand that he was sure to be on my side.

6th. — The arbitrator has shown that he deserved my confidence in him. He ranked himself entirely on my side before I had half done explaining to him what my new project really was. As to my husband’s doubts and difficulties, the dear good man would not so much as hear them mentioned. “No objections,” he cried, gayly; “set to work, Mr. Kerby, and make your fortune. I always said your wife was worth her weight in gold — and here she is now, all ready to get into the bookseller’s scales and prove it. Set to work! set to work!”

“With all my heart,” said William, beginning at last to catch the infection of our enthusiasm. “But when my part of the work and my wife’s has been completed, what are we to do with the produce of our labour?”

“Leave that to me,” answered the doctor. “Finish your book and send it to my house; I will show it at once to the editor of our country newspaper. He has plenty of literary friends in London, and he will be just the man to help you. By-the-by,” added the doctor, addressing me, “you think of everything, Mrs. Kerby; pray have you thought of a name yet for the new book?”

At that question it was my turn to be “taken aback.” The idea of naming the book had never once entered my head.

“A good title is of vast importance,” said the doctor, knitting his brows thoughtfully. “We must all think about that. What shall it be? eh, Mrs. Kerby, what shall it be?”

“Perhaps something may strike us after we have fairly set to work,” my husband suggested. “Talking of work,” he continued, turning to me, “how are you to find time, Leah, with your nursery occupations, for writing down all the stories as I tell them?”

“I have been thinking of that this morning,” said I, “and have come to the conclusion that I shall have but little leisure to write from your dictation in the day-time. What with dressing and washing the children, teaching them, giving them their meals, taking them out to walk, and keeping them amused at home — to say nothing of sitting sociably at work with the dame and her two girls in the afternoon — I am afraid I shall have few opportunities of doing my part of the book between breakfast and tea-time. But when the children are in bed, and the farmer and his family are reading or dozing, I should have at least three unoccupied hours to spare. So, if you don’t mind putting off our working-time till after dark — ”

“There’s the title!” shouted the doctor, jumping out of his chair as if he had been shot.

“Where?” cried I, looking all round me in the surprise of the moment, as if I had expected to see the title magically inscribed for us on the walls of the room.

“In your last words, to be sure!” rejoined the doctor. “You said just now that you would not have leisure to write from Mr. Kerby’s dictation till
after dark.
What can we do better than name the book after the time when the book is written? Call it boldly,
After dark.
Stop! before anybody says a word for or against it, let us see how the name looks on paper.”

I opened my writing-desk in a great flutter. The doctor selected the largest sheet of paper and the broadest-nibbed pen he could find, and wrote in majestic round-text letters, with alternate thin and thick strokes beautiful to see, the two cabalistic words

                    
AFTER DARK.

We all three laid our heads together over the paper, and in breathless silence studied the effect of the round-text: William raising his green shade in the excitement of the moment, and actually disobeying the doctor’s orders about not using his eyes, in the doctor’s own presence! After a good long stare, we looked round solemnly in each other’s faces and nodded. There was no doubt whatever on the subject after seeing the round-text. In one happy moment the doctor had hit on the right name.

“I have written the title-page,” said our good friend, taking up his hat to go. “And now I leave it to you two to write the book.”

Since then I have mended four pens and bought a quire of letter-paper at the village shop. William is to ponder well over his stories in the daytime, so as to be quite ready for me “after dark.” We are to commence our new occupation this evening. My heart beats fast and my eyes moisten when I think of it. How many of our dearest interests depend upon the one little beginning that we are to make to-night!

PROLOGUE TO THE FIRST STORY.

Before I begin, by the aid of my wife’s patient attention and ready pen, to relate any of the stories which I have heard at various times from persons whose likenesses I have been employed to take, it will not be amiss if I try to secure the reader’s interest in the following pages, by briefly explaining how I became possessed of the narrative matter which they contain.

Of myself I have nothing to say, but that I have followed the profession of a traveling portrait-painter for the last fifteen years. The pursuit of my calling has not only led me all through England, but has taken me twice to Scotland, and once to Ireland. In moving from district to district, I am never guided beforehand by any settled plan. Sometimes the letters of recommendation which I get from persons who are satisfied with the work I have done for them determine the direction in which I travel. Sometimes I hear of a new neighbourhood in which there is no resident artist of ability, and remove thither on speculation. Sometimes my friends among the picture-dealers say a good word on my behalf to their rich customers, and so pave the way for me in the large towns. Sometimes my prosperous and famous brother-artists, hearing of small commissions which it is not worth their while to accept, mention my name, and procure me introductions to pleasant country houses. Thus I get on, now in one way and now in another, not winning a reputation or making a fortune, but happier, perhaps, on the whole, than many men who have got both the one and the other. So, at least, I try to think now, though I started in my youth with as high an ambition as the best of them. Thank God, it is not my business here to speak of past times and their disappointments. A twinge of the old hopeless heartache comes over me sometimes still, when I think of my student days.

One peculiarity of my present way of life is, that it brings me into contact with all sorts of characters. I almost feel, by this time, as if I had painted every civilized variety of the human race. Upon the whole, my experience of the world, rough as it has been, has not taught me to think unkindly of my fellow-creatures. I have certainly received such treatment at the hands of some of my sitters as I could not describe without saddening and shocking any kind-hearted reader; but, taking one year and one place with another, I have cause to remember with gratitude and respect — sometimes even with friendship and affection — a very large proportion of the numerous persons who have employed me.

Some of the results of my experience are curious in a moral point of view. For example, I have found women almost uniformly less delicate in asking me about my terms, and less generous in remunerating me for my services, than men. On the other hand, men, within my knowledge, are decidedly vainer of their personal attractions, and more vexatiously anxious to have them done full justice to on canvas, than women. Taking both sexes together, I have found young people, for the most part, more gentle, more reasonable, and more considerate than old. And, summing up, in a general way, my experience of different ranks (which extends, let me premise, all the way down from peers to publicans), I have met with most of my formal and ungracious receptions among rich people of uncertain social standing: the highest classes and the lowest among my employers almost always contrive — in widely different ways, of course, to make me feel at home as soon as I enter their houses.

The one great obstacle that I have to contend against in the practice of my profession is not, as some persons may imagine, the difficulty of making my sitters keep their heads still while I paint them, but the difficulty of getting them to preserve the natural look and the every-day peculiarities of dress and manner. People will assume an expression, will brush up their hair, will correct any little characteristic carelessness in their apparel — will, in short, when they want to have their likenesses taken, look as if they were sitting for their pictures. If I paint them, under these artificial circumstances, I fail of course to present them in their habitual aspect; and my portrait, as a necessary consequence, disappoints everybody, the sitter always included. When we wish to judge of a man’s character by his handwriting, we want his customary scrawl dashed off with his common workaday pen, not his best small-text, traced labouriously with the finest procurable crow-quill point. So it is with portrait-painting, which is, after all, nothing but a right reading of the externals of character recognisably presented to the view of others.

Experience, after repeated trials, has proved to me that the only way of getting sitters who persist in assuming a set look to resume their habitual expression, is to lead them into talking about some subject in which they are greatly interested. If I can only beguile them into speaking earnestly, no matter on what topic, I am sure of recovering their natural expression; sure of seeing all the little precious everyday peculiarities of the man or woman peep out, one after another, quite unawares. The long, maundering stories about nothing, the wearisome recitals of petty grievances, the local anecdotes unrelieved by the faintest suspicion of anything like general interest, which I have been condemned to hear, as a consequence of thawing the ice off the features of formal sitters by the method just described, would fill hundreds of volumes, and promote the repose of thousands of readers. On the other hand, if I have suffered under the tediousness of the many, I have not been without my compensating gains from the wisdom and experience of the few. To some of my sitters I have been indebted for information which has enlarged my mind — to some for advice which has lightened my heart — to some for narratives of strange adventure which riveted my attention at the time, which have served to interest and amuse my fireside circle for many years past, and which are now, I would fain hope, destined to make kind friends for me among a wider audience than any that I have yet addressed.