Father Payne - Benson Arthur Christopher

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it from the churchyard. We drove in at a big gate, standing open, with stone gate-posts. The Hall was a long, stone-built Georgian house, perhaps a hundred and fifty years old, with two shallow wings and a stone-tiled roof, and was obviously of considerable size. Some withered creepers straggled over it, and it was neatly kept, but with no sort of smartness. The trees grew rather thickly to the east of the house, and I could see to the right a stable-yard, and beyond that the trees of the garden. We drew up—it was getting dark—and an old manservant with a paternal air came out, took possession of my bag, and led me through a small vestibule into a long hall, with a fire burning in a great open fireplace. There was a gallery at one end, with a big organ in it. The hall was paved with black and white stone, and there were some comfortable chairs, a cabinet or two, and some dim paintings on the walls. Tea was spread at a small table by the fire, and four or five men, two of them quite young, the others rather older, were sitting about on chairs and sofas, or helping themselves to tea at the table. On the hearth, with his back to the fire, stood a great, burly man with a short, grizzled beard and tumbled gray hair, rather bald, dressed in a rough suit of light-brown homespun, with huge shooting boots, whom I saw at once to be my host. The talk stopped as I entered, and I was aware that I was being scrutinised with some curiosity. Father Payne did not move, but extended a hand, which I advanced and shook, and said: "Very glad to see you, Mr. Duncan—you are just in time for tea." He mentioned the names of the men present, who came and shook hands very cordially. Barthrop gave me some tea, and I was inducted into a chair by the fire. I thought for a moment that I was taking Father Payne's place, and feebly murmured something about taking his chair. "They're all mine, thanks!" he said with a smile, "but I claim no privileges." Someone gave a faint whistle at this, and Father Payne, turning his eyes but not his head towards the young man who had uttered the sound, said: "All right, Pollard, if you are going to be mutinous, we shall have a little business to transact together, as Mr. Squeers said." "Oh, I'm not mutinous, sir," said the young man—"I'm quite submissive—I was just betrayed into it by amazement!" "You shouldn't get into the habit of thinking aloud," said Father Payne; "at least not among bachelors—when you are married you can do as you like!—I hope you are polite?" he went on, looking round at me. "I think so," I said, feeling rather shy, "That's right," he said. "It's the first and only form of virtue! If you are only polite, there is nothing that you may not do. This is a school of manners, you know!" One of the men, Rose by name, laughed—a pleasant musical laugh. "I remember," he said, "that when I was a boy at Eton, my excellent but very bluff and rough old tutor called upon us, and was so much taken up with being hearty, that he knocked over the coal-scuttle, and didn't let anyone get a word in; and when he went off in a sort of whirlwind, my old aunt, who was an incisive lady, said in a meditative tone: 'How strange it is that the only thing that the Eton masters seem able to teach their boys is the only thing they don't themselves possess!'"

      Father Payne uttered a short, loud laugh at this, and said: "Is there any chance of meeting your aunt?" "No, sir, she is long since dead!" "Blew off too much steam, perhaps," said Father Payne. "That woman must have had the steam up! I should have liked to have known her—a remarkable woman! Have you any more stories of the same sort about her?"

      "Not to-day," said Rose, smiling.

      "Quite right," said Father Payne. "You keep them for an acceptable time. Never tell strings of stories—and, by the way, my young friends, that's the art of writing. Don't cram in good things—space them out, Barthrop!"

      "I think I can spread the butter as thin as anyone," said Barthrop, smiling.

      "So you can, so you can!" said Father Payne enthusiastically, "and very thin slices too! I give you full credit for that!"

      The men had begun to drift away, and I was presently left alone with Father Payne. "Now you come along of me!" he said to me; and when I got up, he took my arm in a pleasant fashion, led me to a big curtained archway at the far end of the hall, under the gallery, and along a flagged passage to the right. As we went he pointed to the doors—"Smoking-room—Library"—and at the end of the passage he opened a door, and led me into a small panelled room with a big window, closely curtained. It was a solid and stately place, wholly bare of ornament. It had a writing-table, a bookcase, two armchairs of leather, a fine fireplace with marble pillars, and an old painting let into the panelling above it. There was a bright, unshaded lamp on the table. "This is my room," he said, "and there's nothing in it that I don't use, except those pillars; and when I haul on them, like Samson, the house comes down. Now you sit down there, and we'll have a talk. Do you mind the light? No? Well, that's all right, as I want to have a good look at you, you know! You can get a smoke afterwards—this is business!"

      He sate down in the chair opposite me, and stirred the fire. He had fine, large, solid hands, the softness of which, like silk, had struck me when I shook hands with him; and, though he was both elderly and bulky, he moved with a certain grace and alertness. "Tell me your tale from the beginning," he said, "Don't leave out any details—I like details. Let's have your life and death and Christian sufferings, as the tracts say."

      He heard me with much patience, sometimes smiling, sometimes nodding, when I had finished, he said: "Now I must ask you a few questions—you don't mind if they are plain questions—rather unpleasant questions?" He bent his brows upon me and smiled. "No," I said, "not at all." "Well, then," he said, "where's the vocation in all this? This place, to be brief, is for men who have a real vocation for writing, and yet never would otherwise have the time or the leisure to train for it. You see, in England, people think that you needn't train for writing—that you have just got to begin, and there you are. Very few people have the money to wait a few years—they have to write, not what they want to write, but what other people want to read. And so it comes about that by the time that they have earned the money and the leisure, the spring is gone, the freshness is gone, there's no invention and no zest. Writing can't be done in a little corner of life. You have to give up your life to it—and then that means giving up your life to a great deal of what looks like pure laziness—loafing about, looking about, travelling, talking, mooning; that is the only way to learn proportion; and it is the only way, too, of learning what not to write about—a great many things that are written about are not really material for writing at all. And all this can't be done in a drivelling mood—you must pick your way if you are going to write. That's a long preface; but I mean this place to be a place to give men the right sort of start. I happen to be able to teach people, more or less, how to write, if they have got the stuff in them—and to be frank, I'm not sure that you have! You think this would be a pleasant sort of experience—so it can be; but it isn't done on slack and chattering lines. It is just meant to save people from hanging about at the start, a thing which spoils a lot of good writers. But it's deadly serious, and it isn't a dilettante life at all. Do you grasp all that?"

      "Yes," I said, "and I believe I can work! I know I have wasted my time, but it was not because I wanted to waste time, but because the sort of things I have always had to do—the classics—always seemed to me so absolutely pointless. No one who taught me ever distinguished between what was good and what was bad. Whatever it was—a Greek play, Homer, Livy, Tacitus—it was always supposed to be the best thing of the kind. I was always sure that much of it was rot, and some of it was excellent; but I didn't know why, and no one ever told me why."

      "You thought all that?" said he. "Well, that's more hopeful! Have you ever done any essay work?"

      "Yes," I said, "and that was the worst of all—no one ever showed me how to do it in my own way, but always in some one else's way."

      He sate a little in silence. Then he said: "But mind you, that's not all! I don't think writing is the end of life. The real point is to feel the things, to understand the business, to have ideas about life. I don't want people to learn how to write interestingly about things in which they are not interested—but to be interested first, and then to write if they can. I like to turn out a good writer, who can say what he feels and believes. But I'm just as pleased when a man tells me that writing is rubbish, and that he is going away to do something real. The real—that's what I care about! I don't want men to come and pick up grains of truth and reality, and work them into their stuff. I have turned out a few men like that, and those are my worst failures. You have got to care about ideas, if you come here, and to get the ideas into shape. You have got to learn what

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