you get laughed at by a cheeky brat or two for your awkward beginnings? What’s the use of always thinking of how you’re looking, when your sense might tell you that other people are thinking about their own looks and not about yours? A big boy doesn’t look well on a lower form, certainly, but when he works his way up he’ll be glad he began. I speak to you more particularly because you’re Londoners; and Londoners beat all creation for thinking about themselves. However, I don’t go with the gentleman in everything he said. All this struggling and striving to make the world better is a great mistake; not because it isn’t a good thing to improve the world if you know how to do it, but because striving and struggling is the worst way you could set about doing anything. It gives a man a bad style, and weakens him. It shows that he don’t believe in himself much. When I heard the professor striving and struggling so earnestly to set you to work reforming this, that, and the other, I said to myself, ‘He’s got himself to persuade as well as his audience. That isn’t the language of conviction.’ Whose—”
“Really, sir,” said Lucian Webber, who had made his way to the table, “I think, as you have now addressed us at considerable length, and as there are other persons present whose opinions probably excite as much curiosity as yours—” He was interrupted by a, “Hear, hear,” followed by “No, no,” and “Go on,” uttered in more subdued tones than are customary at public meetings, but with more animation than is usually displayed in drawingrooms. Cashel, who had been for a moment somewhat put out, turned to Lucian and said, in a tone intended to repress, but at the same time humor his impatience, “Don’t you be in a hurry, sir. You shall have your turn presently. Perhaps I may tell you something you don’t know, before I stop.” Then he turned again to the company, and resumed.
“We were talking about effort when this young gentleman took it upon himself to break the ring. Now, nothing can be what you might call artistically done if it’s done with an effort. If a thing can’t be done light and easy, steady and certain, let it not be done at all. Sounds strange, doesn’t it? But I’ll tell you a stranger thing. The more effort you make, the less effect you produce. A WOULD-BE artist is no artist at all. I see that in my own profession (never mind what that profession is just at present, as the ladies might think the worse of me for it). But in all professions, any work that shows signs of labor, straining, yearning — as the German gentleman said — or effort of any kind, is work beyond the man’s strength that does it, and therefore not well done. Perhaps it’s beyond his natural strength; but it is more likely that he was badly taught. Many teachers set their pupils on to strain, and stretch, so that they get used up, body and mind, in a few months. Depend upon it, the same thing is true in other arts. I once taught a fiddler that used to get a hundred guineas for playing two or three tunes; and he told me that it was just the same thing with the fiddle — that when you laid a tight hold on your fiddlestick, or even set your teeth hard together, you could do nothing but rasp like the fellows that play in bands for a few shillings a night.”
“How much more of this nonsense must we endure?” said Lucian, audibly, as Cashel stopped for breath. Cashel turned and looked at him.
“By Jove!” whispered Lord Worthington to his companion, “that fellow had better be careful. I wish he would hold his tongue.”
“You think it’s nonsense, do you?” said Cashel, after a pause. Then he raised one of the candles, and illuminated a picture that hung on the wall, “Look at that picture,” he said. “You see that fellow in armor — St. George and the dragon, or whatever he may be. He’s jumped down from his horse to fight the other fellow — that one with his head in a big helmet, whose horse has tumbled. The lady in the gallery is half crazy with anxiety for St. George; and well she may be. THERE’S a posture for a man to fight in! His weight isn’t resting on his legs; one touch of a child’s finger would upset him. Look at his neck craned out in front of him, and his face as flat as a full moon towards his man, as if he was inviting him to shut up both his eyes with one blow. You can all see that he’s as weak and nervous as a cat, and that he doesn’t know how to fight. And why does he give you that idea? Just because he’s all strain and stretch; because he isn’t at his ease; because he carries the weight of his body as foolishly as one of the ladies here would carry a hod of bricks; because he isn’t safe, steady, and light on his pins, as he would be if he could forget himself for a minute, and leave his body to find its proper balance of its own accord. If the painter of that picture had known his business he would never have sent his man up to the scratch in such a figure and condition as that. But you can see with one eye that he didn’t understand — I won’t say the principles of fighting, but the universal principles that I’ve told you of, that ease and strength, effort and weakness, go together. Now,” added Cashel, again addressing Lucian; “do you still think that notion of mine nonsense?” And he smacked his lips with satisfaction; for his criticism of the picture had produced a marked sensation, and he did not know that this was due to the fact that the painter, Mr. Adrian Herbert, was present.
Lucian tried to ignore the question; but he found it impossible to ignore the questioner. “Since you have set the example of expressing opinions without regard to considerations of common courtesy,” he said, shortly, “I may say that your theory, if it can be called one, is manifestly absurd.”
Cashel, apparently unruffled, but with more deliberation of manner than before, looked about him as if in search of a fresh illustration. His glance finally rested on the lecturer’s seat, a capacious crimson damask armchair that stood unoccupied at some distance behind Lucian.
“I see you’re no judge of a picture,” said he, goodhumoredly, putting down the candle, and stepping in front of Lucian, who regarded him haughtily, and did not budge. “But just look at it in this way. Suppose you wanted to hit me the most punishing blow you possibly could. What would you do? Why, according to your own notion, you’d make a great effort. ‘The more effort the more force,’ you’d say to yourself. ‘I’ll smash him even if I burst myself in doing it.’ And what would happen then? You’d only cut me and make me angry, besides exhausting all your strength at one gasp. Whereas, if you took it easy — like this—” Here he made a light step forward and placed his open palm gently against the breast of Lncian, who instantly reeled back as if the piston-rod of a steam-engine had touched him, and dropped into the chair.
“There!” exclaimed Cashel, standing aside and pointing to him. “It’s like pocketing a billiard-ball!”
A chatter of surprise, amusement, and remonstrance spread through the rooms; and the company crowded towards the table. Lucian rose, white with rage, and for a moment entirely lost his selfcontrol. Fortunately, the effect was to paralyze him; he neither moved nor spoke, and only betrayed his condition by his pallor and the hatred in his expression. Presently he felt a touch on his arm and heard his name pronounced by Lydia. Her voice calmed him. He tried to look at her, but his vision was disturbed; he saw double; the lights seemed to dunce before his eyes; and Lord Worthington’s voice, saying to Cashel, “Rather too practical, old fellow,” seemed to come from a remote corner of the room, and yet to be whispered into his ear. He was moving irresolutely in search of Lydia when his senses and his resentment were restored by a clap on the shoulder.
“You wouldn’t have believed that now, would you?” said Cashel. “Don’t look startled; you’ve no bones broken. You had your little joke with me in your own way; and I had mine in MY own way. That’s only—”
He stopped; his brave bearing vanished; he became limp and shamefaced. Lucian, without a word, withdrew with Lydia to the adjoining apartment, and left him staring after her with wistful eyes and slackened jaw.
In the meantime Mrs. Hoskyn, an earnest-looking young woman, with striking dark features and gold spectacles, was looking for Lord Worthington, who betrayed a consciousness of guilt by attempting to avoid her. But she cut off his retreat, and confronted him with a steadfast gaze that compelled him to stand and answer for himself.
“Who is that gentleman whom you introduced to me? I do not recollect his name.”
“I am really awfully sorry, Mrs. Hoskyn. It was too bad of Byron. But Webber was excessively nasty.”
Mrs. Hoskyn, additionally annoyed by apologies which she had not invited,