thought—then! Now, in the light of what befell, none of his poems depresses me so much as ‘Nocturne.’
I looked out for what the metropolitan reviewers would have to say. They seemed to fall into two classes: those who had little to say and those who had nothing. The second class was the larger, and the words of the first were cold; insomuch that
Strikes a note of modernity throughout.... These tripping numbers.—Preston Telegraph
was the only lure offered in advertisements by Soames’ publisher. I had hopes that when next I met the poet I could congratulate him on having made a stir; for I fancied he was not so sure of his intrinsic greatness as he seemed. I was but able to say, rather coarsely, when next I did see him, that I hoped ‘Fungoids’ was ‘selling splendidly.’ He looked at me across his glass of absinthe and asked if I had bought a copy. His publisher had told him that three had been sold. I laughed, as at a jest.
‘You don’t suppose I CARE, do you?’ he said, with something like a snarl. I disclaimed the notion. He added that he was not a tradesman. I said mildly that I wasn’t, either, and murmured that an artist who gave truly new and great things to the world had always to wait long for recognition. He said he cared not a sou for recognition. I agreed that the act of creation was its own reward.
His moroseness might have alienated me if I had regarded myself as a nobody. But ah! hadn’t both John Lane and Aubrey Beardsley suggested that I should write an essay for the great new venture that was afoot—‘The Yellow Book’? And hadn’t Henry Harland, as editor, accepted my essay? And wasn’t it to be in the very first number? At Oxford I was still in statu pupillari. In London I regarded myself as very much indeed a graduate now—one whom no Soames could ruffle. Partly to show off, partly in sheer good-will, I told Soames he ought to contribute to ‘The Yellow Book.’ He uttered from the throat a sound of scorn for that publication.
Nevertheless, I did, a day or two later, tentatively ask Harland if he knew anything of the work of a man called Enoch Soames. Harland paused in the midst of his characteristic stride around the room, threw up his hands towards the ceiling, and groaned aloud: he had often met ‘that absurd creature’ in
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