My dear wife, fortunately a Serb by birth, has regularized my Slavic orthography, and has grown gray in the service of the index. To her, and to my little ones, whose merry laughter has so often penetrated to my study and cheered me at my travail, I dedicate the whole. _89, Decameron Gardens._

PREFACE TO A BOOK OF POEMS

This little selection of verses, to which I have given the t.i.tle "Rari Nantes," was made at the instance of several friends. I have chosen from my published works those poems which seemed to me most faithfully to express my artistic message; and the t.i.tle obviously implies that I think them the ones most likely to weather the maelstroms of Time. Be that as it may.

Vachel Lindsay and I have often discussed over a gla.s.s of port (one gla.s.s only: alas, that Vachel should abstain!) the state of the Muse to-day. He deems that she now has fled from cities to dwell on the robuster champaigns of Illinois and Kansas. Would that I could agree; but I see her in the cities and everywhere, set down to menial taskwork. She were better in exile, on Ibsen's sand dunes or Maeterlinck's bee farm. But in America the times are very evil.

Prodigious convulsion of production, the grinding of mighty forces, the noise and rushings of winds--and what avails? _Parturiunt montes_ ...you know the rest. The ridiculous mice squeak and scamper on the granary floor. They may play undisturbed, for the real poets, those great gray felines, are sifting loam under Westminster. Gramercy Park and the Poetry Society see them not.

It matters not. With this little book my task is done. Vachel and I sail to-morrow for Nova Zembla.

_The Grotto, Yonkers._

PREFACE TO THE SECOND EDITION

A second edition of "Rari Nantes" having been called for, I have added three more poems, Esquimodes written since arriving here. Also the "Prayer for Warm Weather," by Vachel Lindsay, is included, at his express request. The success of the first edition has been very gratifying to me. My publishers will please send reviews to _Bleak House, Nova Zembla_.

PREFACE TO THE THIRD EDITION

The rigorous climate of Nova Zembla I find most stimulating to production, and therefore in this new edition I am able to include several new poems. "The Ode to a Seamew," the "Fracas on an Ice Floe,"

and the sequence of triolimericks are all new. If I have been able to convey anything of the bracing vigour of the Nova Zembla _locale_ the praise is due to my friendly and suggestive critic, the editor of _Gooseflesh_, the leading Nova Zemblan review.

Vachel Lindsay's new book, "The Tango," has not yet appeared, therefore I may perhaps say here that he is hard at work on an "Ode to the Gulf Stream," which has great promise.

The success of this little book has been such that I am encouraged to hope that the publisher's exemption of royalties will soon be worked off.

THE SKIPPER

I have been reading again that most delightful of all autobiographies, "A Personal Record," by Joseph Conrad. Mr. Conrad's mind is so rich, it has been so well mulched by years of vigorous life and sober thinking, that it pushes tendrils of radiant speculation into every crevice of the structure upon which it busies itself. This figure of speech leaves much to be desired and calls for apology, but in perversity and profusion the trellis growth of Mr. Conrad's memories, here blossoming before the delighted reader's eyes, runs like some ardent trumpet vine or Virginia creeper, spreading hither and thither, redoubling on itself, branching unexpectedly upon spandrel and espalier, and repeatedly enchanting us with some delicate criss-cross of mental fibres. One hesitates even to suggest that there may be admirers of Mr. Conrad who are not familiar with this picture of his mind--may we call it one of the most remarkable minds that has ever concerned itself with the setting of English words horizontally in parallel lines?

The fraternity of gentlemen claiming to have been the first on this continent to appreciate the vaulting genius of Mr. Conrad grows numerous indeed; almost as many as the discoverers of O. Henry and the pallbearers of Ambrose Bierce. It would be amusing to enumerate the list of those who have a.s.sured me (over the sworn secrecy of a table d'hote white wine) that they read the proof-sheets of "Almayer's Folly" in 1895, etc., etc. For my own part, let me be frank. I do not think I ever heard of Mr. Conrad before December 2, 1911. On that date, which was one day short of the seventeenth anniversary of Stevenson's death, a small club of earnest young men was giving a dinner to Sir Sidney Colvin at the Randolph Hotel in Oxford. Sir Sidney told us many anecdotes of R.L.S., and when the evening was far spent I remember that someone asked him whether there was any writer of to-day in whom he felt the same pa.s.sionate interest as in Stevenson, any man now living whose work he thought would prove a permanent enrichment of English literature. Sir Sidney Colvin is a scrupulous and sensitive critic, and a sworn enemy of loose statement; let me not then pretend to quote him exactly; but I know that the name he mentioned was that of Joseph Conrad, and it was a new name to me.

Even so, I think it was not until over a year later that first I read one of Mr. Conrad's books; and I am happy to remember that it was "Typhoon," which I read at one sitting in the second-cla.s.s dining saloon of the _Celtic_, crossing from New York in January, 1913. There was a very violent westerly gale at the time--a famous shove, Captain Conrad would call it--and I remember that the barometer went lower than had ever been recorded before on the western ocean. The piano in the saloon carried away, and frolicked down the aisle between the tables: it was an ideal stage set for "Typhoon." The saloon was far aft, and a hatchway just astern of where I sat was stove in by the seas. By sticking my head through a window I could see excellent combers of green sloshing down into the 'tweendecks.

But the inspired discursiveness of Mr. Conrad is not to be imitated here. The great pen which has paid to human life "the undemonstrative tribute of a sigh which is not a sob, and of a smile which is not a grin," needs no limping praise of mine. But sometimes, when one sits at midnight by the fainting embers and thinks that of all novelists now living one would most ardently yearn to hear the voice and see the face of Mr. Conrad, then it is happy to recall that in "A Personal Record"

one comes as close as typography permits to a fireside chat with the Skipper himself. He tells us that he has never been very well acquainted with the art of conversation, but remembering Marlowe, we set this down as polite modesty only. Here in the "Personal Record" is Marlowe ipse, pipe in mouth, and in retrospective mood. This book and the famous preface to the "n.i.g.g.e.r" give us the essence, the bouillon, of his genius. Greatly we esteem what Mr. Walpole, Mr. Powys, Mr. James, and (optimus maximus) Mr. Follett, have said about him; but who would omit the chance to hear him from his proper mouth? And in these informal confessions there are pieces that are destined to be cla.s.sics of autobiography as it is rarely written.

One cannot resist the conviction that Mr. Conrad, traditionally labelled complex and tortuous by the librarians, is in reality as simple as lightning or dawn. Fidelity, service, sincerity--those are the words that stand again and again across his pages. "I have a positive horror of losing even for one moving moment that full possession of myself which is the first condition of good service." He has carried over to the world of desk and pen the rigorous tradition of the sea. He says that he has been attributed an unemotional, grim acceptance of facts, a hardness of heart. To which he answers that he must tell as he sees, and that the attempt to move others to the extremities of emotion means the surrendering one's self to exaggeration, allowing one's self to be carried away beyond the bounds of normal sensibility. Self-restraint is the duty, the dignity, the decency of the artist. This, indeed, is the creed of the simple man in every calling; and from this angle it appears that it is the Pollyananiases and the Harold Bell Wrights who are complicated and subtle; it is Mr. Conrad, indeed, who is simple with the great simplicity of life and death.

Truly in utter candour and simplicity no book of memoirs since the synoptic gospels exceeds "A Personal Record." Such minor facts as where the writer was born, and when, and the customary demonology of boyhood and courtship and the first pay envelope, are gloriously ignored. A statistician, an efficiency pundit, a literary accountant, would rise from the volume nervously shattered from an attempt to grasp what it was all about. The only person in the book who is accorded any comprehensive biographical resume is a certain great-uncle of Mr. Conrad, Mr. Nicholas B., who accompanied Bonaparte on his midwinter junket to Moscow, and was bitterly constrained to eat a dog in the forests of Lithuania. To the delineation of this warrior, who was a legend of his youth, Mr. Conrad devotes his most affectionate and tender power of whimsical reminiscence; and in truth his sketches of family history make the tragedies of Poland clearer to me than several volumes of historical comment. In his prose of that superbly rich simplicity of texture--it is a commonplace that it seems always like some notable translation from the French--he looks back across the plains of Ukraine, and takes us with him so unquestionably that even the servant who drives him to his uncle's house becomes a figure in our own daily lives. And to our delicious surprise we find that the whole of two long chapters const.i.tutes merely his musings in half an hour while he is waiting for dinner at his uncle's house. With what adorable tenderness he reviews the formative contours of boyish memories, telling us the whole mythology of his youth! Upon my soul, sometimes I think that this is the only true autobiography ever written: true to the inner secrets of the human soul. It is the pa.s.skey to the Master's att.i.tude toward all the dear creations of his brain; it is the spiritual scenario of every novel he has written. What self-revealing words are these: "An imaginative and exact rendering of authentic memories may serve worthily that spirit of piety toward all things human which sanctions the conceptions of a writer of tales." And when one stops to consider, how essentially impious and irreverent to humanity are the novels of the Slop and Glucose school!

This marvellous life, austere, glowing, faithful to everything that deserves fidelity, contradictory to all the logarithms of probability, this tissue of unlikelihoods by which a Polish lad from the heart of Europe was integrated into the greatest living master of those who in our tongue strive to portray the riddles of the human heart--such is the kind of calculus that makes "A Personal Record" unique among textbooks of the soul. It is as impossible to describe as any dear friend. Setting out only with the intention to "present faithfully the feelings and sensations connected with the writing of my first book and with my first contact with the sea," Mr. Conrad set down what is really nothing less than a Testament of all that is most precious in human life. And the sentiment with which one lays it by is that the scribbler would gladly burn every shred of foolscap he had blackened and start all over again with truer ideals for his craft, could he by so doing have chance to meet the Skipper face to face.

Indeed, if Mr. Conrad had never existed it would have been necessary to invent him, the indescribable improbability of his career speaks so closely to the heart of every lover of literary truth. Who of his heroes is so fascinating to us as he himself? How imperiously, by his own n.o.ble example, he recalls us to the service of honourable sincerity. And how poignantly these memories of his evoke the sigh which is not a sob, the smile which is not a grin.

A FRIEND OF FITZGERALD

Loder is a Rock of Ages to rely on.

--EDWARD FITZGERALD.

I heard the other day of the death of dear old John Loder, the Woodbridge bookseller, at the age of ninety-two. Though ill equipped to do justice to his memory, it seems to me a duty, and a duty that I take up gladly. It is not often that a young man has the good fortune to know as a friend one who has been a crony of his own grandfather and great-grandfather. Such was my privilege in the case of John Loder, a man whose life was all st.u.r.dy simplicity and generous friendship. He shines in no merely reflected light, but in his own native n.o.bility. I think there are a few lovers of England and of books who will be glad not to forget his un.o.btrusive services to literature. If only John Loder had kept a journal it would be one of the minor treasures of the Victorian Age. He had a racy, original turn of speech, full of the Suffolk lingo that so delighted his friend FitzGerald; full, too, of the delicacies of rich thought and feeling. He used to lament in his later years that he had not kept a diary as a young man. Alas that his Boswell came too late to do more than s.n.a.t.c.h at a few of his memories.

There is a little Suffolk town on the salt tidewater of the Deben, some ten miles from the sea. Its roofs of warm red tile are cl.u.s.tered on the hill-slopes that run down toward the river; a ma.s.sive, gray church tower and a great windmill are conspicuous landmarks. Broad barges and shabby schooners, with ruddy and amber sails, lie at anchor or drop down the river with the tide, bearing the simple sailormen of Mr. W.W. Jacobs's stories. In the old days before the railway it was a considerable port and a town of thriving commerce. But now--well, it is little heard of in the annals of the world.

Yet Woodbridge, unknown to the tourist, has had her pilgrims, too, and her nook in literature. It was there that George Crabbe of Aldeburgh was apprenticed to a local surgeon and wrote his first poem, unhappily ent.i.tled "Inebriety." There lived Bernard Barton, "the Quaker poet," a versifier of a very mild sort, but immortal by reason of his friendships with greater men. Addressed to Bernard Barton, in a plain, neat hand, came scores of letters to Woodbridge in the eighteen-twenties, letters now famous, which found their way up Church Street to Alexander's Bank.

They were from no less a man than Charles Lamb. Also I have always thought it very much to Woodbridge's credit that a certain Woodbridgian named Pulham was a fellow-clerk of Lamb's at the East India House.

Perhaps Mr. Pulham introduced Lamb and Barton to each other. And as birthplace and home of Edward FitzGerald, Woodbridge drew such visitors as Carlyle and Tennyson, who came to seek out the immortal recluse. In the years following FitzGerald's death many a student of books, some all the way from America, found his way into John Loder's shop to gossip about "Old Fitz." In 1893 a few devoted members of the Omar Khayyam Club of London pilgrimaged to Woodbridge to plant by the grave at Boulge (please p.r.o.nounce "Bowidge") a rosetree that had been raised from seed brought from the bush that sheds its petals over the dust of the tent-maker at Naishapur. In 1909 Woodbridge and Ipswich celebrated the FitzGerald centennial. And Rupert Brooke's father was (I believe) a schoolboy at Woodbridge; alas that another of England's jewels just missed being a Woodbridgian!

Some day, if you are wise, you, too, will take a train at Liverpool Street, and drawn by one of those delightful blue locomotives of the Great Eastern Railway speed through Colchester and Ipswich and finally set foot on the yellow-pebbled platform at Woodbridge. As you step from the stuffy compartment the keen salt Deben air will tingle in your nostrils; and you may discover in it a faint under-whiff of strong tobacco--the undying scent of pipes smoked on the river wall by old Fitz, and in recent years by John Loder himself. If you have your bicycle with you, or are content to hire one, you will find that rolling Suffolk country the most delightful in the world for quiet spinning.

(But carry a repair kit, for there are many flints!) Ipswich itself is full of memories--of Chaucer, and Wolsey, and d.i.c.kens (it is the "Eatanswill" of Pickwick), and it is much pleasure to one of Suffolk blood to recall that James Harper, the grandfather of the four brothers who founded the great publishing house of Harper and Brothers a century ago, was an Ipswich man, born there in 1740. You will bike to Bury St.

Edmunds (where Fitz went to school and our beloved William McFee also!) and Aldeburgh, and Dunwich, to hear the chimes of the sea-drowned abbey ringing under the waves. If you are a Stevensonian, you will hunt out c.o.c.kfield Rectory, near Sudbury, where R.L.S. first met Sidney Colvin in 1872. (Colvin himself came from Bealings, only two miles from Woodbridge.) You may ride to Dunmow in Ess.e.x, to see the country of Mr.

Britling; and to Wigborough, near Colchester, the haunt of Mr. McFee's painter-cousin in "Aliens." You will hire a sailboat at Lime Kiln Quay or the Jetty and bide a moving air and a going tide to drop down to Bawdsey ferry to hunt shark's teeth and amber among the shingle. You will pace the river walk to Kyson--perhaps the tide will be out and sunset tints shimmer over those glossy stretches of mud. Brown seaweed, vivid green samphire, purple flats of slime where the river ran a few hours before, a steel-gray trickle of water in the scour of the channel and a group of stately swans ruffling there; and the huddled red roofs of the town with the stately church tower and the waving arms of the windmill looking down from the hill. It is a scene to ravish an artist.

You may walk back by way of Martlesham Heath, stopping at the Red Lion for a quencher (the Red Lion figurehead is supposed to have come from one of the ships of the Armada). It is a different kind of Armada that Woodbridge has to reckon with nowadays. Zeppelins. One dropped a bomb--"dud" it was--in John Loder's garden; the old man had to be restrained from running out to seize it with his own hands.

John Loder was born in Woodbridge, August 3, 1825. His grandfather, Robert Loder, founded the family bookselling and printing business, which continues to-day at the old shop on the Thoroughfare under John Loder's son, Morton Loder. In the days before the railway came through, Woodbridge was the commercial centre for a large section of East Suffolk; it was a busy port, and the quays were crowded with shipping.

But when transportation by rail became swift and cheap and the provinces began to deal with London merchants, the little town's prosperity suffered a sad decline. Many of the old Woodbridge shops, of several generations' standing, have had to yield to local branches of the great London "stores." In John Loder's boyhood the book business was at its best. Woodbridgians were great readers, and such prodigal customers as FitzGerald did much to keep the ledgers healthy. John left school at thirteen or so, to learn the trade, and became the traditional printer's devil. He remembered Bernard Barton, the quiet, genial, brown-eyed poet, coming down the street from Alexander's Bank (where he was employed for forty years) with a large pile of banknotes to be renumbered. The poet sat perched on a high stool watching young Loder and his superior do the work. And at noon Mr. Barton sent out to the Royal Oak Tavern near by for a basket of buns and a jug of stout to refresh printer and devil at their work.

Bernard Barton died in 1849, and was kid to rest in the little Friends'

burying ground in Turn Lane. That quiet acre will repay the visitor's half-hour tribute to old mortality. My grandmother was buried there, one snowy day in January, 1912, and I remember how old John Loder came forward to the grave, bareheaded and leaning on his stick, to drop a bunch of fresh violets on the coffin.

Many a time I have sat in the quiet, walled-in garden of Burkitt House--that sweet plot of colour and fragrance so pleasantly commemorated by Mr. Mosher in his preface to "In Praise of Old Gardens"--and heard dear old John Loder tell stories of his youth. I remember the verse of Herrick he used to repeat, pointing round his little retreat with a well-stained pipestem:

But walk'st about thine own dear bounds, Not envying others' larger grounds: For well thou know'st, 'tis not th' extent Of land makes life, but sweet content.

Loder's memory used to go back to times that seem almost fabulous now.

He had known quite well an English soldier who was on guard over Boney at St. Helena--in fact, he once published in some newspaper this man's observations upon the fallen emperor, but I have not been able to trace the piece. He had been in Paris before the troubles of '48. I believe he served some sort of bookselling apprenticeship on Paternoster Row; at any rate, he used to be in touch with the London book trade as a young man, and made the acquaintance of Bernard Quaritch, one of the world's most famous booksellers. I remember his lamenting that FitzGerald had not dumped the two hundred unsold booklets of Omar upon his counter instead of Quaritch's in 1859. The story goes that they were offered by Quaritch for a penny apiece.

I always used to steer him onto the subject of FitzGerald sooner or later, and it was interesting to hear him tell how many princes of the literary world had come to his shop or had corresponded with him owing to his knowledge of E.F.G. Arme Thackeray gave him a beautiful portrait of herself in return for some courtesy he showed her. Robert H. Groome, the archdeacon of Suffolk, and his brilliant son, Francis Hindes Groome, the "Tarno Rye" (who wrote "Two Suffolk Friends" and was said by Watts Dunton to have known far more about the gipsies than Borrow) were among his correspondents.[D] John Hay, Elihu Vedder, Aldis Wright, Canon Ainger, Thomas B. Mosher, Clement Shorter, Dewitt Miller, Edward Clodd, Leon Vincent--such men as these wrote or came to John Loder when they wanted special news about FitzGerald. FitzGerald had given him a great many curios and personal treasures: Mr. Loder never offered these for sale at any price (anything connected with FitzGerald was sacred to him) but if any one happened along who seemed able to appreciate them he would give them away with delight. He gave to me FitzGerald's old musical sc.r.a.pbook, which he had treasured for over thirty years. This sc.r.a.pbook, in perfect condition, contains very beautiful engravings, prints, and drawings of the famous composers, musicians, and operatic stars of whom Fitz was enivre as a young man. Among them are a great many drawings of Handel; FitzGerald, like Samuel Butler, was an enthusiastic Handelian. The pictures are annotated by E.F.G. and there are also two drawings of Beethoven traced by Thackeray. This sc.r.a.pbook was compiled by FitzGerald when he and Thackeray were living together in London, visiting the Cave of Harmony and revelling in the dear delights of young intellectual companionship. Under a drawing of the famous Braham, dated 1831, Fitz has written: "As I saw and heard him many nights in the Pit of Covent Garden, in company with W.M. Thackeray, whom I was staying with at the Bedford Coffee House."

[Footnote D: No lover of FitzGerald can afford not to own that exquisite tributary volume "Edward FitzGerald: An Aftermath," by Francis Hindes Groome, which Mr. Mosher published in 1902. It tells a great deal about Woodbridge, and is annotated by John Loder. Mr. Mosher was eager to include Loder's portrait in it, but the old man's modesty was always as great as his generosity: he would not consent.]

When I tried, haltingly, to express my thanks for such a gift, the old man said "That's nothing! That's nothing! It'll help to keep you out of mischief. Much better to give 'em away before it's too late!" And he followed it with Canon Ainger's two volumes of Lamb's letters, which Ainger had given him.

Through his long life John Loder lived quietly in Woodbridge, eager and merry in his shop, a great reader, always delighted when any one came in who was qualified to discuss the literature which interested him. He and FitzGerald had long cracks together and perhaps Loder may have accompanied the Woodbridge Omar on some of those trips down the Deben on the _Scandal_ or the _Meum and Tuum_ (the _Mum and Tum_ as Posh, Fitz's sailing master, called her). He played a prominent part in the life of the town, became a Justice of the Peace, and sat regularly on the bench until he was nearly ninety. As he entered upon the years of old age, came a delightful surprise. An old friend of his in the publishing business, whom he had known long before in London, died and left him a handsome legacy by will. Thus his last years were spared from anxiety and he was able to continue his un.o.btrusive and quiet generosities which had always been his secret delight.

Looking over the preceding paragraphs I am ashamed to see how pale and mumbling a tribute they are to this fine spirit. Could I but put him before you as he was in those last days! I used to go up to Burkitt House to see him: in summer we would sit in the little arbour in the garden, or in winter by the fire in his dining room. He would talk and I would ask him questions; now and then he would get up to pull down a book, or to lead me into his bedroom to see some special treasure. He used to sit in his shirtsleeves, very close to the fire, with his shoe laces untied. In summer he would toddle about in his s.h.a.ggy blue suit, with a tweed cap over one ear, his grizzled beard and moustache well stained by much smoking, his eyes as bright and his tongue as brisk as ever. Every warm morning would see him down on the river wall; stumping over Market Hill and down Church Street with his stout oak stick, hailing every child he met on the pavement. His pocket was generally full of peppermints, and the youngsters knew well which pocket it was.

His long life was a series of original and graceful kindnesses, always to those who needed them most and had no reason to expect them. No recluse he, no fine scholar, no polished litterateur, but a hard-headed, soft-hearted human man of the st.u.r.dy old Suffolk breed.

Sometimes I think he was, in his own way, just as great a man as the "Old Fitz," whom he loved and reverenced.